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About the Editor Eric Bradley is the editor of Antique Trader magazine, AntiqueTrader.com and the Antique Trader Blog. In addition to writing hundreds of articles on antiques, collecting and the trade, Bradley served as producer of the Atlantique City Antiques Show and is a lifelong student of antiques. Possessing a passion for country auctions and outdoor shows, Bradley is an avid American art pottery, WWII homefront collectibles and folk art enthusiast.

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Antique Trader

ANTIQUES

COLLECTIBLES 2012

PRICE GUIDE • 28th Edition

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Also inside you’ll discover Top Lots, a new feature highlighting the bestselling results from auction houses nationwide.

For nearly 30 years, Antique Trader Antiques & Collectibles has been the leading source ource for information on antiques and collectibles. s. Filled with expert advice, vetted values and 4,500 00 color photographs, Antique Trader provides the clearest and most dependable picture of this amazingly diverse and magnificent market. Inside you will enjoy a variety of new collecting areas, as well as old favorites. Including: Asian Bottles Ceramics Civil War Clocks Comic Books

Krause Publications, a division of F+W Media, Inc. 700 East State Street • Iola, WI 54990-0001 715-445-2214 • 888-457-2873 www.krausebooks.com To order books or other products call toll-free 1-800-258-0929 or visit us online at www.krausebooks.com or www.Shop.Collect.com

ISSN: 1536-2884 ISBN-13: 978-1-4402-1695-4 ISBN-10: 1-4402-1695-9

Cover Design by Heidi Zastrow Designed by Marilyn McGrane Edited by Eric Bradley

It’s a confusing time in the antiques market. After emerging from the recessions of 2000-2001 and 2007-2010, buyers and sellers ﬁnd themselves on an alien landscape. Longtime antiques shows have vanished; the size of such events now favoring quality rather than quantity. Auctions dominate the sales landscape. “Antiques Roadshow” now has competition, and the audience for programs about antiques and collectibles rival those of late night talk shows. The average age of collectibles sellers on trendy vintage websites is 34, folks who are noticeably absent from shows and traditional auctions. This is deﬁnitely not your father’s hobby anymore. The 28th edition of the Antique Trader Antiques & Collectibles Price Guide represents a new approach to our Eric Bradley hobby and the market. Not only will you ﬁnd thousands of entries across a ﬁeld of areas, you’ll also ﬁnd enhanced identiﬁcation methods and tips on how you can excel at both buying and selling no matter your budget or passion. In this edition, we’ve introduced new collecting areas as well as reliable favorites. Although dollar values continue to rise for the best of the market, the volume of items moving on the lower end is attracting new collectors every day. This demand for items and information is creating new businesses. Here are a few observations on today’s market and what you can expect for 2012:

BUYING TRENDS The highﬂying Asian art and antiques “bubble” isn’t a bubble at all. It is the new norm. As Asian countries rise to “catch up” with our standard of living, their disposable income will be more assertively directed at collecting cultural art and antiques. Americans and Europeans have enjoyed the escalation of wealth during the last 300 years, and now it’s Asians who are consuming a larger segment of the market. Sure, prices may ﬂuctuate (perhaps even decline in stressed periods), but auction houses and dealers are right to bank on a long term, sustainable trend of an increase of demand in Asian art and antiques. Vintage technology is gearing up for the long haul. Once relegated to a small segment of the collecting public, vintage technology is hot, and young people are getting interested in old typewriters, electric fans, microscopes, and oddities. The hobby supports several collectors’ websites, a new book, and an international auction house. The appetite comes from afﬂuent, accomplished tech industry workers as well as nostalgia buffs reminded of a simpler, less-connected way of life. The fondness Baby Boomers shared for their ﬁrst bicycle is akin to the fondness those ages 35 and younger share for their ﬁrst computer.

A NEW AUDIENCE By the end of 2011, more than 16 new television shows involving the antiques and collectibles trade were in production or in early planning stages. Production crews are eager to satisfy this so far unexplored (or unexploited) segment of the reality television genre and you can expect more to come. In mid-2011, Leslie and Leigh Keno announced the formation of their own television show – the ﬁrst post-“Antiques Roadshow” members to strike out on their own television endeavor. Dealers and auction houses yearned for this phenomenon as early as 2006

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Introduction as a way to spark demand among younger buyers. Now’s the time to capitalize on the publicity and enjoy the new faces ﬂooding into shops, shows, yard sales, and storage locker auctions.

INTRODUCTION

THINK OUTSIDE THE BOX What we share at Antique Trader are universal lessons to improve the hobby of antiques no matter what region you live in or what method you use to buy and sell. They all boil down to one truism – the time for change is now. In order to take advantage of greater trends happening in our hobby, buyers and sellers must change how they meet. Take a look at some of the case examples: • A San Francisco dealer of trains and vintage American toys is using interesting and innovative displays at a major airport to promote his business and his inventory. • Dealers are moving away from the bureaucracy and fees of online auction sites by launching their own “digital storefronts” on their own websites. Breakthroughs from major Internet search engines are making it easier for a dealer’s well-written inventory descriptions to be found. • It’s time to free up capital currently held up in merchandise that’s not selling. Successful dealers make friends with their local estate auction house (or set up at well-trafﬁcked shows) to sell their “mistakes.” Now is a good time to admit that some purchases need to be sold at cost to free up cash for items in better condition, which may be undervalued. • Nothing replaces knowledge. Collectors must pursue up-to-the-minute pricing. Websites sites such as LiveAuctioneers, Artfact, and Worthpoint.com all offer pricing results from auctions every day. In most cases the resources are free or at a nominal cost. Such as you cultivated a comprehensive reference library before the digital age, so should you bookmark and subscribe to reliable reference information on the market. This is an exciting, vibrant time in our hobby. Whether your passion is Old Master paintings or yard sale treasures, opportunity abounds around every corner. Now is the time to open your mind and eyes and ﬁnd the things you didn’t know you wanted.

ABOUT ANTIQUETRADER.COM We think you’ll be impressed with the new layout, sections and information in this year’s annual. Because the antiques world (like everything else) is constantly changing, I invite you to visit AntiqueTrader.com and make it your main portal into the world of antiques. Like our magazine, AntiqueTrader.com’s team of collectors, dealers and bloggers share information daily on events, auctions, new discoveries and tips on how to buy more for less. Here’s what’s offered everyday on AntiqueTrader.com. • Free eNewsletters: Get a recap of the world of antiques sent to your inbox every week. • Free Classiﬁed Ads: Inventory (great and small) from around the world offered for buy, sell or trade. • Exclusive video featuring stars from all the shows you love: “Antiques Roadshow,” “American Pickers,” “Pawn Stars,” “Cash & Cari,” “Storage Wars” and more! • Experts’ Q&A on how to value and sell your collections online at the best prices. • The Internet’s largest free antiques library: More than 10,000 articles of research, show reports, auction results and more. • Blogs on where to sell online, how to buy more for less, restoration, fakes and reproductions, displaying your collections and how to ﬁnd hidden gems in your town! • The largest online events calendar in the world of antiques with links to more than 1,000 shows worldwide.

ERIC BRADLEY is the editor of Antique Trader magazine, AntiqueTrader.com and the Antique Trader Blog. In addition to writing hundreds of articles on antiques, collecting and the trade, he has been a producer of the Atlantique City Antiques Show and a lifelong student of antiques. Bradley is often spotted haunting country auctions and outdoor shows to feed his collection of American art pottery, World War II homefront collectibles and Midwest folk art.

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The Art of Evaluating Collectible Art

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The Art of Evaluating Collectible Art It was a snowy New Year’s Eve day, and the appraisers were making a house call. The client was a woman with a family heirloom, a piece of cut and painted paper silhouette art from a genre known by its German name, scherenschnitte. Her story ran like this: Her mother brought the paper art to the United States from Austria in the 1950s and had the piece appraised many years ago by a Boston dealer, at a value of $16,000. She fervently believed her story but, alas, the family lore was obviously wrong. The piece, while nice work, had been framed in the 1960s before archival materials were available. The scherenschnitte had been glued down to a matt board, and acid from the board migrated over the decades onto Mary Manion the artwork. The paper was pocked by breaks and foxing. Moreover, it was impossible to ﬁnd auction records higher than $2,000 for a comparable scherenschnitte in good condition. The client was indignant when the appraisers determined its value was only $400. Witness the growing problem in the art market of customer over-expectation, a trend fanned by the popularity of “Antiques Roadshow,” aided by ill-informed amateur websites and often abetted by family legends that just seem to sound better with each passing generation. In the current economic climate, people are re-evaluating their ﬁnances, taking inventory of their personal property, and in some cases, downsizing the manor. The demand for appraisals has multiplied exponentially and, like a kind of “cross your ﬁngers” lottery logic, people hope it’s the winning ticket to prosperity. The problem is that unlike investing in gold, the value of art can be illusory. Also, the authenticity of gold can easily be established. With art, what looks like the real thing can, upon evaluation, turn into mere fool’s gold. And the appraiser is also faced with a disadvantage not endured by dealers in gold. The value of precious metal is measured by the ounce and determined by the world market. The value of artwork will always be more subjective. “Antiques Roadshow,” the ever-popular appraisal program on PBS, has become the bellwether for appraisal events that have sprung up across the country in recent years. Patterned after “Antiques Roadshow’s” presentation, appraisal affairs feature qualiﬁed appraisers from numerous disciplines who are brought together for a day to assess and provide a quick verbal value to whatever antique is put in front of them. My experience as a ﬁne art appraiser at these events indicates all that glitters is not gold. At a recent appraisal fair more than 1,800 advance ticket sales were offered and sold out weeks before the date. I was among a team of 38 appraisers who volunteered their knowledge and time for a 10-hour event. In my line, the Portrait of Rev. Gryllis of Helston majority of ticket holders had researched their artwork Cornwall. beforehand on the Internet and told me what they Copake Auction, 266 Route 7A, Copake, NY 12516 believed to be the value of their work as I was examining

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INTRODUCTION

By Mary Manion

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The Art of Evaluating Collectible Art their piece. Often, what they thought they had was not quite what they actually had. The most popular misconception is the difference between original works of art and their deceptive imitators: a reproduction, a copy or a “pretender” — a paper print on canvas, which can look like a painting to the amateur but holds little value to its original counterpart. Picasso reproductions are the frequent item “La Famile” 1976, by Orville Bulman. Concept Art Gallery, 1031 South Braddock Avenue, Pittsburgh, of disappointment brought in by people who PA 15218 gather their information randomly from the Internet. Two Picasso-hopefuls were brought to my table: one a faded reproduction from the ’70s, and the other a rather cheap-looking image of a rooster that had been transferred onto a plastic plaque with a wall hook attached on the back. I had a bit of a struggle trying to set the record straight about its value. The client insisted that someone at a museum had told him it was valuable. Maintaining levity at such moments is a vital part of the assignment. Another common misunderstanding comes in determining value with an artwork that has prospective worth. An oil painting, for example, may be less desirable if it is in poor condition, has a questionable provenance or aesthetically is not good quality work, or the market for that artist might be low. People seldom realize the parameters involved in the evaluation process. A watercolor I encountered recently comes to mind as an example of a listed artist with a strong sale history ($20,000 to $50,000 at Sotheby’s and Christie’s, among other houses) but currently is generating no interest in consignment at auction houses. The local collector acquired the well-rendered, mixed-media ﬂoral several years ago. He researched the French artist, Andre Dunoyer de Segonzac (1884-1974), and eventually had it authenticated by a specialist who determined the watercolor was in excellent condition, well executed and consistent with other works by the same artist that sold around $50,000 at auction. Several years had passed, and the client decided to place it at auction. Contacting the appropriate specialist at several auction houses within a six-week period culminated in the ﬁnding that currently, the artist’s work is of “little interest” in the market. As these inquiries were being made, Christie’s, one of the houses contacted for the consignment, had several De Segonzac watercolors up for auction. A New York sale brought in $4,200 (hammer) for a watercolor landscape; a week later in Paris, Christie’s sale of a ﬂoral watercolor sold for $3,780 (hammer). In November 2009, a De Segonzac watercolor similar in composition and size as our client’s, sold at Christie’s (New York) for $41,500 (hammer). Within the following year, auction records indicate 43 watercolors by De Segonzac appeared at auction. The 21 lots that sold ranged in price from $257 to $14,141 (hammer). Nineteen lots did not sell, and two sales were not communicated. Because the art market ﬂuctuates, determining value involves a skillful process that includes ongoing research and a good eye on market sales. If Christie’s takes a pass, keep it in your portfolio. Paris street scene signed M. Passoni. The market may possibly change. King Galleries, 854 Atlanta St., Roswell, GA 30075

MARY MANION is the associate director of Landmarks Gallery and Restoration Studio in Milwaukee. A columnist for Antique Trader since 2006, Manion is a member of the New England Appraisers Association. She regularly writes about the market’s most popular and active artists and themes. A library of her work can be found at AntiqueTrader.com.

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Furniture Styles and Designs

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Furniture Styles and Designs

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INTRODUCTION

The antique furniture market continues to reward the ﬁnest examples, celebrity designers, and impeccable provenance. Despite changing tastes and decorating style, quality and craftsmanship help good furniture sell. Especially desirable are pristine examples from the American Arts & Crafts period, monumental pieces such as bookcases or breakfronts, and pieces made by R.J. Horner, John Henry Belter, or the talented craftsmen in 18th century New England. Danish modern furniture continues to hold its value as new buyers appreciate the craftsmanship as well as the minimalist design. Expect to see utilitarian pieces such as occasional tables, bookcases, country kitchen canning cupboards, and nightstands rise in value as they are adapted into the modern home’s demand that a single piece of furniture serve double duty. In this primer, antique furniture expert Fred Taylor shares his list of the most commonly traded styles and design elements pursued by 21st century collectors and decorators. Furniture can be determined by careful study George III mahogany secretary and remembering what design elements each one embraces. bookcase. To help understand what deﬁnes each period, here are some Photo courtesy Bonhams & Butterﬁelds of the major design elements for each period. William and Mary, 1690-1730: The style is named for the English King William of Orange and his consort, Mary. New colonists in America brought their English furniture traditions with them and tried to translate these styles using native woods. Their furniture was practical and sturdy. Lines of this furniture style tend to be crisp, while facades might be decorated with bold grains of walnut or maple veneers, framed by inlaid bands. Moldings and turnings are exaggerated in size. Turnings are baluster-shaped, and the use of C-scrolls is quite common. Feet found in this period generally are round or oval. One exception to this is known as the Spanish foot, which ﬂares to a scroll. Woods tend to be maple, walnut, white pine, or southern yellow pine. One type of decoration that begins in the William and Mary period and extends through to Queen Anne and Chippendale styles is known as “japanning,” referring to a lacquering process that combines ashes and varnish. Queen Anne, 1720-1760: Evolution of this design style is from Queen Anne’s court, 1702 to 1714, and lasted until the Revolution. This style of furniture is much more delicate than its predecessor. It was one way for the young Colonists to show their own unique style, with each regional area initiating special design elements. Forms tend to be attenuated in New England. Chair rails were more often mortised through the back legs when made in Philadelphia. New England furniture makers preferred pad feet, while the makers in Philadelphia used trifﬁd feet. Makers in Connecticut and New York often preferred slipper and claw and ball feet. The most popular woods were walnut, poplar, cherry, and maple. Japanned decoration tends to be in red, green, and gilt, often on a blue-green ﬁeld. A new furniture form of this period was the tilting tea table. Chippendale, 1755-1790: This period is named for the famous English cabinetmaker, Thomas Chippendale, who wrote a book of furniture designs, Gentlemen and CabinetMaker’s Directory, published in 1754, 1755, and 1762. This book gave cabinetmakers real direction, and they soon eagerly copied the styles presented. Chippendale was inﬂuenced by ancient cultures, such as the Romans, and Gothic inﬂuences. Look for Gothic arches,

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INTRODUCTION

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Furniture Styles and Designs Chinese fretwork, columns, capitals, C-scrolls, S-scrolls, ribbons, ﬂowers, leaves, scallop shells, gadrooning, and acanthus leaves. The most popular wood used in this period was mahogany, with walnut, maple, and cherry also present. Legs become straight and regional differences still existed in design elements, such as feet. Claw and ball feet become even larger and more decorative. Pennsylvania cabinetmakers used Marlborough feet, while other regions favored ogee bracket feet. One of the most popular forms of this period was a card table that sported ﬁve legs instead of the four of Queen Anne designs. Federal (Hepplewhite), 1790-1815: This period reﬂects the growing patriotism felt in the young American states. Their desire to develop their own distinctive furniture style was apparent. Stylistically it also reﬂects the architectural style known as Federal, where balance and symmetry were extremely important. Woods used during this period were mahogany and mahogany veneer, but other native woods, such as maple, birch, or satinwood, were used. Reﬂecting the architectural ornamentation of the period, inlays were popular, as was carving and even painted highlights. The motifs used for inlay included bellﬂowers, urns, festoons, acanthus leaves, and pilasters, to name but a few. Inlaid bands and lines were also popular and often used in combination with other inlay. Legs of this period tend to be straight or tapered to the foot. The foot might be a simple extension of the leg, or bulbous or spade shaped. Two new furniture forms were created in this period. They are the sideboard and the worktable. Expect to ﬁnd a little more comfort in chairs and sofas, but not very thick cushions or seats. When a piece of furniture is made in England, or styled after an English example, it may be known as Hepplewhite. The time frame is the same. Robert Adam is credited with creating the style known as Hepplewhite during the 1760s and leading the form. Another English book heavily inﬂuenced the designers of the day. This one was by Alice Hepplewhite, and titled The Cabinet Maker and Upholsterer’s Guide, published in 1788, 1789, and 1794. Sheraton, 1790-1810: The style known as Sheraton closely resembles Federal. The lines are somewhat straighter and the designs plainer than Federal. Sheraton pieces are more closely associated with rural cabinetmakers. Woods include mahogany, mahogany veneer, maple, and pine, as well as other native woods. This period was heavily inﬂuenced by the work of Thomas Sheraton and his series of books, The Cabinet Maker and Upholsterer’s Drawing Book, from 1791-1794, The Cabinet Directory, 1803, and The Cabinet-Maker, Upholsterer, and General Artist’s Encyclopedia of 1804. Empire (Classical), 1805-1830: By the beginning of the 19th century, a new design style was emerging. Known as Empire, it had an emphasis on the classical world of Greece, Egypt, and other ancient European inﬂuences. The American craftsmen began to incorporate more ﬂowing patriotic motifs, such as eagles with spread wings. The basic wood used in the Empire period was mahogany. However, during this period, dark woods were so favored that often mahogany was painted black. Inlays were popular when made of ebony or maple veneer. The dark woods offset gilt highlights, as were the brass ormolu mountings often found in this period. The legs of this period are substantial and more ﬂowing than those found in the Federal or Sheraton periods. Feet can be highly ornamental, as when they are carved to look like lion’s paws, or plain when they extend to the ﬂoor with a swept leg. Regional differences in this style are very apparent, with New York City being the center of the design style, as it was also the center of fashion at the time. New furniture forms of this period include the sleigh bed, with the headboard and footboard forming a graceful arch. Several new forms of tables also came into being, especially the sofa table. Because the architectural style of the Empire period used big, open rooms, the sofa was now allowed to be in the center of the room, with a table behind it. Former architectural periods found most furniture placed against the outside perimeter of the walls and brought forward to be used. Victorian, 1830-1890: The Victorian period as it relates to furniture styles can be divided into several distinct styles. However, not every piece of furniture can be dated or deﬁnitely identiﬁed, so the generic term “Victorian” will apply to those pieces. Queen Victoria’s reign affected the design styles of furniture, clothing, and all sorts of items used

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Furniture Styles and Designs

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INTRODUCTION

in daily living. Her love of ornate styles is well known. When thinking of the general term, think of a cluttered environment, full of heavy furniture, and surrounded by plants, heavy fabrics, and lots of china and glassware. French Restoration, 1830-1850: This is the ﬁrst sub-category of the Victoria era. This style is best simpliﬁed as the plainest of the Victorian styles. Lines tend to be sweeping, undulating curves. It is named for the style that was popular in France as the Bourbons tried to restore their claim to the French throne, from 1814 to 1848. The Empire (Classical) Walnut parlor table with pierced barley twist period inﬂuence is felt, but French Restoration lacks column on four scroll carved feet. Auctioneers, 8597 Ventura Ave., Ventura, CA some of the ornamentation and fussiness of that California 93001 period. Design motifs continue to reﬂect an interest in the classics of Greece and Egypt. Chair backs are styled with curved and concave crest rails, making them a little more comfortable than earlier straight-back chairs. The use of bolster pillows and more upholstery is starting to emerge. The style was only popular in clusters, but did entice makers from larger metropolitan areas, such as Boston and New Orleans, to embrace the style. The Gothic Revival, 1840-1860: This is relatively easy to identify for collectors. It is one of the few styles that celebrates elements found in the corresponding architectural themes: turrets, pointed arches, and quatrefoils—designs found in 12th through 16th centuries that were adapted to this mid-century furniture style. The furniture shelving form known as an étagère was born in this period, allowing Victorians to have more room to display their treasured collections. Furniture that had mechanical parts was also embraced by the Victorians of this era. The woods preferred by makers of this period were walnut and oak, with some use of mahogany and rosewood. The scale used ranged from large and grand to small and petite. Carved details gave dimension and interest. Rococo Revival, 1845-1870: This design style features the use of scrolls, either in a “C” shape or the more ﬂuid “S” shape. Carved decoration in the form of scallop shells, leaves and ﬂowers, particularly roses, and acanthus further add to the ornamentation of this style of furniture. Legs and feet of this form are cabriole or scrolling. Other than what might be needed structurally, it is often difﬁcult to ﬁnd a straight element in Rococo Revival furniture. The use of marble for tabletops was quite popular, but expect to ﬁnd the corners shaped to conform to the overall scrolling form. To accomplish all this carving, walnut, rosewood, and mahogany were common choices. When lesser woods were used, they were often painted to reﬂect these more expensive woods. Some cast-iron elements can be found on furniture from this period, especially if it was cast as scrolls. The style began in France and England, but eventually migrated to America where it evolved into two other furniture styles, Naturalistic and Renaissance Revival. Elizabethan, 1850-1915: This sub-category of the Victorian era is probably the most feminine-inﬂuenced style. It also makes use of the new machine-turned spools and spiral proﬁles that were fast becoming popular with furniture makers. New technology advancements allowed more machined parts to be generated. By adding ﬂowers, either carved or painted, the furniture pieces of this era had a softness to them. Chair backs tend to be high and narrow, having a slight back tilt. Legs vary from straight to baluster-turned forms to spindle turned. This period of furniture design saw more usage of needlework upholstery and decoratively painted surfaces. Louis XVI, 1850-1914: One period of the Victorian era that ﬂies away with straight lines is Louis XVI. However, this furniture style is not austere; it is adorned with ovals, arches, applied medallions, wreaths, garlands, urns, and other Victorian ﬂourishes. As the period aged, more ornamentation became present on the ﬁnished furniture styles. Furniture of this time was made from more expensive woods, such as ebony or rosewood. Walnut was popular

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Furniture Styles and Designs around the 1890s. Other dark woods were featured, often to contrast the lighter ornaments. Expect to ﬁnd straight legs or ﬂuted and slightly tapered legs. Naturalistic, 1850-1914: This furniture period takes the scrolling effects of the Rococo Revival designs and adds more ﬂowers and fruits to the styles. More detail is spent on the leaves—so much that one can tell if they are to represent grape, rose, or oak leaves. Technology advances enhanced this design style, as manufacturers developed a way of laminating woods together. This layered effect was achieved by Dresser, oak, three drawers, ﬁrst quarter gluing thin layers together, with the grains running 20th century. Montrose Auction Inc., 1702 Second St., Montrose, GA at right angles on each new layer. The thick panels 31065 created were then steamed in molds to create the illusion of carving. The woods used as a basis for the heavy ornamentation were mahogany, walnut and some rosewood. Upholstery of this period is often tufted, eliminating any large ﬂat surface. The name of John Henry Belter is often connected with this period, for it was when he did some of his best design work. John and Joseph W. Meeks also enjoyed success with laminated furniture. Original labels bearing these names are sometimes found on furniture pieces from this period, giving further provenance. Renaissance Revival, 1850-1880: Furniture made in this style period reﬂects how cabinetmakers interpreted 16th- and 17th-century designs. Their motifs range from curvilinear and ﬂorid early in the period to angular and almost severe by the end of the period. Dark woods, such as mahogany and walnut, were primary with some use of rosewood and ebony. Walnut veneer panels were a real favorite in the 1870s designs. Upholstery, usually of a more generous nature, was also often incorporated into this design style. Ornamentation and high relief carving included ﬂowers, fruits, game, classical busts, acanthus scrolls, strapwork, tassels, and masks. Architectural motifs, such as pilasters, columns, pediments, balusters, and brackets are another prominent design feature. Legs are usually cabriole or have substantial turned proﬁles. Néo-Greek, 1855-1885: This design style easily merges with both the Louis XVI and Renaissance Revival. It is characterized by elements reminiscent of Greek architecture, such as pilasters, ﬂutes, columns, acanthus, foliate scrolls, Greek key motifs, and anthemion high-relief carving. This style originated with the French, but was embraced by American furniture manufacturers. Woods are dark and often ebonized. Ornamentation may be gilded or bronzed. Legs tend to be curved to scrolled or cloven hoof feet. Eastlake, 1870-1890: This design style is named for Charles Locke Eastlake, who wrote a popular book in 1872 called Hints on Household Taste. It was originally published in London. One of his principles was the relationship between function, form, and craftsmanship. Shapes of furniture from this style tend to be more rectangular. Ornamentation was created through the use of brackets, grooves, chamfers, and geometric designs. American furniture manufacturers were enthusiastic about this style, since it was so easy to adapt for mass production. Woods used were again dark, but more native woods, such as oak, maple, and pine were incorporated. Legs and chair backs are straighter, often with incised decoration. Art Furniture, 1880-1914: This period represents furniture designs gone mad, almost an “anything goes” school of thought. The style embraces both straight and angular with some pieces that are much more ﬂuid, reﬂecting several earlier design periods. This era saw the wide usage of turned moldings and dark woods, but this time stained to imitate ebony and lacquer. The growing Oriental inﬂuence is seen in furniture from this period, including the use of bamboo, which was imported and included in the designs. Legs tend to be straight; feet tend to be small. Arts & Crafts, 1895-1915: The Arts & Crafts period of furniture represents one of the strongest trends for current collectors. Quality period Arts & Crafts furniture is available through most of the major auction houses. And, for those desiring the look, good quality

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Furniture Styles and Designs

INTRODUCTION

modern furniture is also made in this style. The Arts & Crafts period furniture is generally rectilinear and a deﬁnite correlation is seen between form and function. The primary inﬂuences of this period were the Stickley brothers (especially Gustav, Leopold, and John George), Elbert Hubbard, Frank Lloyd Wright, and Harvey Ellis. Their furniture designs often overlapped into architectural and interior design, including rugs, textiles, and other accessories. Wood used for Arts & Crafts furniture is primarily oak. Finishes were natural, fumed, or painted. Hardware was often made in copper. Legs are straight and feet are small, if present at all, as they were often a simple extension of the leg. Some inlay of natural materials was used, such as silver, copper, and abalone shells. Art Nouveau, 1896-1914: Just as the Art Nouveau period is known for women with long hair, ﬂowers, and curves, so is Art Nouveau furniture. The Paris Exposition of 1900 introduced furniture styles reﬂecting what was happening in the rest of the design world, such as jewelry and silver. This style of furniture was not warmly embraced, Walnut hall tree, style of Henry II, as the sweeping lines were not very conducive to mass with beveled mirror. Kuehnert Auctioneers & Appraisproduction. The few manufacturers that did interpret it for Morton ers, 4901 Richmond Ave., Houston, TX their factories found interest to be slight in America. The 77027 French held it in higher esteem. Legs tend to be sweeping or cabriole. Upholstery becomes slimmer. Art Deco, 1920-1945: The Paris “L’Exposition International des Arts Décorative et Industriels Modernes” became the mantra for designs of everything in this period. Lines are crisp, with some use of controlled curves. The Chrysler Building in New York City remains among the ﬁnest example of Art Deco architecture and those same straight lines and gentle curves are found in furniture. Makers used expensive materials, such as veneers, lacquered woods, glass, and steel. The cocktail table ﬁrst enters the furniture scene during this period. Upholstery can be vinyl or smooth fabrics. Legs are straight or slightly tapered; chair backs tend to be either low or extremely high. Modernism, 1940-present: Furniture designed and produced during this period is distinctive, as it represents the usage of some new materials, like plastic, aluminum, and molded laminates. The Bauhaus and also the Museum of Modern Art heavily inﬂuenced some designers. In 1940, the museum organized competitions for domestic furnishings. Designers Eero Saarien and Charles Eames won ﬁrst prize for their designs. A new chair design combined the back, seat, and arms together as one unit. Tables were designed that incorporated the top, pedestal, and base as one. Shelf units were also designed in this manner.

By Kathy Flood Recently I purchased an enameled base-metal pin clip for $15 and sold it for $1,500. If that doesn’t get your juices ﬂowing for costume jewelry, I don’t know what will. Why, you could even pay for a week of your ungrateful child’s college tuition with such a sale. This just in: Another pin from the same company sold even more recently for $2,500. (It wasn’t mine.) You probably want to know what these proﬁtable pins are. I only hesitate to say because, if you’re new to the jewelry world, you shouldn’t immediately run out to buy every Trifari piece you spot. Old Trifari ﬁgurals can be uncannily lucrative. Keep an eye out for them. Chances are, though, before you hit a jackpot, you’ll ﬁrst accumulate at least seven dozen pieces of Trifari you won’t be able to unload — ever. Kathy Flood It’s part of the learning process. Jewelry collectors can be a tough crowd. The costume-jewelry category, speciﬁcally, still has much more glory than gory, but it’s not the ’80s anymore, when American and international buyers from all over the world threw gobs of mad money at it. And that was pre-Internet. Now, with everyone spoiled and choosy, delicious gems even by names long considered sexy, from Eisenberg Original to Schiaparelli, may languish in well-trafﬁcked shops. The ﬁrst time I came face to face with the steely resistance of jewelry collectors was when I set up at my ﬁrst show. I had great jewelry to sell and modestly estimated I’d do about $1,000 in business that day. Instead, the take was $350. The show manager noticed I looked, let’s say, glum while packing up and said to me, “You’ll have to show up three to six times before your sales are good. Jewelry collectors don’t like new dealers.” I thought it was the most ridiculous thing I’d ever heard; how long a seller was around never mattered to me as a collector, but then, “Dancing With the Stars” and “The Ofﬁce” make my skin crawl, so what do I know? The other thing you might ﬁnd if you decide to dip your toe in the sparkling waters of jewelry is that one seller’s goldmine is another seller’s coal mine. For example, vintage silver jewelry is highly coveted when it’s well-designed and well-crafted. After all, we’re talking precious metal and sometimes exceptional aesthetics. Last year, I decided to target sterling as an area to invest in for resale. Huge mistake for me. I just can’t sell it. Others can. Vintage Bakelite is another slightly cold category in my case, and it’s such a dreamy medium, it’s hard to resist. But I strictly limit myself to purchases of only the rarest Bakelite pieces. Even then, sales take a while. Maybe collectors eventually will come banging loudly at the door again for these nicest of niches. All it takes is Mila Kunis or Natalie Portman being photographed in some great Bakelite to change things around in a huge way, similar to what Sarah Jessica Parker and Angelina Jolie helped do for pearls. (See Warman’s Jewelry, 4th edition.) Patience is an Kenneth J. Lane pink bead bracelet underrated virtue. Initially you’ll be as petulant as a twowith enameled sea creature clasp. year-old. A mellower attitude comes with time. Wickliff & Associates Auctioneers, 12232 Hancock St., Carmel, IN 46032 The ﬂip side for me, to mention just three stars in my

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All That Glitters Is Great Jewelry

INTRODUCTION

own sales constellation, includes Kenneth J. Lane, Trifari and many ﬁgural categories, especially fur-clip pins. People like them — a lot. Within these groups, though, are some hard-core cold spots, which is where you’ll make your mistakes, cut your teeth, and get a great education. But this primer is meant to help you avoid as many faux pas as possible. First, all you have to do is look around at results from live auctions to see that ﬁne jadeite, largediamond, and fancy-color diamond jewelry are off the charts in hammer prices at auction houses. That’s one venue. When I spoke with some successful jewelry dealers in the course of business recently, I asked what’s simmery Fourteen karat gold and enamel jagvs. shivery for them as well, since what’s hot or not can uar clip/brooch designed by Kenneth J. Lane. vary depending on vehicle, venue, and exactly who the Skinner, Massachusetts veteran is. Here’s what four active jewelry dealers had to say. Pay special attention not just to what’s hot, but what’s icy, too, because that’s where steals are sleeping. Meaning: you buy them now, tuck them away and pull them out another day — when everyone wants them once again. P.S. The $1,500 piece was the Art Deco Trifari bartender. The $2,500 price was a Trifari ﬁgural from designer Alfred Philippe’s Ming series. At one shop, The More the Merrier, proprietor Merry Shugart didn’t equivocate in either category, dreamy or unsteamy. Her list of the hot-hot: • Victorian sterling hinged bracelets. “I can’t get enough of them!” • Juliana (DeLizza & Elster) necklaces and bracelets (pins, less so). • Victorian overall, but mourning jewelry not so much. • Better Haskell. “I especially sell a lot to collectors in Japan.” • Saphirets (old and new) • Native American silver • “In ﬁne jewelry, Deco diamond rings are selling like hotcakes.” • Italian silver. “Peruzzi and Parenti, especially; Cini less so.” • Enamel lockets = hottish • Big, glitzy bracelets • Hobe — the drippier the better

• Weiss thermoset clamper bracelets. “ ...Super hot three years ago, pretty dead now.” • Matisse enamels. “Not commanding the high prices they were.” • Mexican silver. “I have gorgeous pieces that are languishing.” • Mourning jewelry • Lockets in general ... “although I still buy good ones when possible.” • “Puffy hearts have really slowed down.” Meanwhile, at Linda Lombardo’s shop, Worn to Perfection, she says, “What seems to have cooled are the fabulous Edwardian and Transitional Deco ﬁligree pieces: usually rhodium plated, delicate, with colored glass. These happen to be among my favorites, and I absolutely believe they will make a comeback.” (Look at a few and you’ll see how ﬁckle jewelry tastes can be. How can any pieces this pretty ever cool?)

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INTRODUCTION

16

All That Glitters Is Great Jewelry Higher temps at Worn to Perfection can be found in these popular categories, according to Lombardo (in no particular order): Victorian lockets and Victorian in general; bolder brass or gold-toned pieces with attitude ... (“I recently had four sets of Haskell, simple sets and the Maria Teresa or Teresia coin necklace. They ﬂew out of my shop. The only one remaining is a white set, which may require some warmer weather to inspire someone.”) “Pearls are also stronger sellers right now, both real or faux. Multi-strand pearl bracelets with rhinestone clasps are very ‘Mad Men’ — and hot.” OK, I admit it was a relief to have Claudia Roach, owner of The Pink Lady, commiserate with me over Bakelite. “I cannot give Bakelite away,” Claudia actually exclaimed. “This has been going on for a while. It may have something to do with geography?” (Claudia’s in California; I’m in the Midwest, so, maybe not. But can there be any doubt Bakelite will live to rise again to its former glory? It’ll be back with a vengeance eventually. So for now, keep an eye out for any great Bake sale.) “What’s hot for me at The Pink Lady are reasonably priced $50 to $80 sparkly pins and bracelets. I also sell a ton of earrings, European 18k gold, ambut I don’t see any pattern to it — just earrings purchased to go ethyst, rose diamond and with outﬁts. With young people, costume rings are really hot, purple enamel necklace, circa 1890s. one for every ﬁnger, $25 tops each.” Steve Fishbach Collection; photo by At Sandi DiDio’s shop, Zi-Glitterati, she explained, “I had a Linda Lombardo vintage shop for 10 years, but recently moved my inventory to an antiques mall. When I opened my shop 10 years ago, everyone went crazy over vintage jewelry in general, especially rhinestone brooches. It didn’t matter if they were designer signed, big and sparkly or small and dainty. Antique jewelry didn’t sell nearly as fast as the ’50s-’60s pieces. But brooch sales have slowed down for me, and antique jewelry sells far better now: Victorian, Edwardian, Art Deco, Art Nouveau … all are really hot! So is enamel jewelry — very hot. Anything unusual sells, of course, so I love ﬁgural brooches and clips. Rings have always sold well for me. Cold for me has always been something I really love: porcelain jewelry. It just doesn’t sell. I also love old plastics — Bakelite, celluloid, Lucite — but they haven’t been selling at all. I love dress and fur clips but can’t get customers to buy them, and you can do so much with a dress clip, even clip over a chain as a necklace. I do believe they will become a hot item in the next few years.” Cushion-cut fancy natural yellow diamond ring in platinum, rose gold and 18k yellow gold, accented by fancy It makes sense. Especially if we can get yellow diamonds, fancy pink diamonds and colorless Blake Lively to wear some on “Gossip diamonds. Girl.” Maidi Corp courtesy of Natural Color Diamond Association KATHY FLOOD is a journalist, author of three Warman’s jewelry books, and the proprietor of several jewelry businesses including Fabulous Figurals on Ruby Lane and ChristmasTreePins.com. A library of her books is available for sale on Shop.Collect.com.

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Advertising

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Advertising Items ADVERTISING

Thousands of advertising items made in various materials, some intended as gifts with purchases, others used for display or given away for publicity, are actively collected. Before the days of mass media, advertisers relied on colorful product labels and advertising giveaways to promote their products. Containers were made to appeal to the buyer through the use of stylish lithographs and bright colors. Many of the illustrations used the product in the advertisement so that even an illiterate buyer could identify a product. Advertisements were put on almost every household object imaginable and became constant reminders to use the product or visit a certain establishment. Advertisement, ‘Auto-Lite Spark Plugs,’ promotion tied in to Rita Hayworth movie ‘You’ll Never Get Rich,’ color photo of Hayworth in grass skirt, a spark plug in the foreground, stylized illustration of Art Deco-style movie theater in background w/marquee showing name of movie, a row of movie goers at bottom, text reads ‘Theatres! Look at this sensational Auto-Lite Tip-up - featuring Rita Hayworth - It’s Free - It’s Colorful - It’s Box Ofﬁce - It’s One of Many Valuable Auto-Lite Tie-ins’ & ‘Auto-Lite Dealers Offer You 100% Cooperation!’ at bottom, 1941 ....$100

Calendar, 1920, ‘Winchester,’ long rectangular print w/a large color image of a duck hunter carrying his game & stepping out of a small boat where his son sits, water in the background, full pad at the bottom, 19 3/4 x 38 1/2” .....$805

Counter display, ‘Winchester Firearms,’ cardboard cutout gun rack, colorful dual rack for .22 riﬂes or shotguns, top shows two men holding guns on either side of circular advertising area that can display one of three rounded attachments, one a Christmas wreath w/‘Give a 22’ inside, one w/image of a crow in the center w/‘Get him with a new Winchester 22’ around rim & across bottom, & one w/image of gopher in center w/‘Get him with a new Winchester 22’ around rim & across bottom, red & white striped gun rack w/gold oval panels reading ‘Winchester’ in red, 1950s, 12 x 18”, 20” h. .........$633

Asian (Chinese – Art & Antiques) Art and antiques from China, Japan, Korea, the Paciﬁc Rim, and Southeast Asia have fascinated collectors for centuries because they are linked with the rich culture and fascinating history of the Far East. Their beauty, artistry and ﬁne craftsmanship have lured collectors through the ages. The category is vast and includes objects ranging from jade carvings to cloisonné to porcelain, the best-known of these being porcelain. Large quantities of porcelain have been made in China for export to America from the 1780s. A major source of this porcelain was Ching-te-Chen in the Kiangsi province, but the wares were also made elsewhere. The largest quantities were blue and white. Nippon is the term used to describe a wide range of porcelain wares produced in Japan from the late 19th century until about 1921. Many Japanese factories produced Nippon porcelain, much of it hand-painted with ornate ﬂoral or landscape decoration. Prices for Asian antiques and art ﬂuctuate considerably depending on age, condition, decoration, etc.

Original early mechanical and cast-iron still banks are in great demand with collectors. Their scarcity has caused numerous reproductions of both types, and the novice collector is urged to exercise caution. Numbers after the bank name refer to those in John Meyer’s Handbook of Old Mechanical Banks. However, Penny Lane—A History of Antique Mechanical Toy Banks by Al Davidson, provides updated information, and the number from this volume is indicated at the end of each listing. A well illustrated book, The Penny Lane Bank Book—Collecting Still Banks by Andy and Susan Moore, pictures and describes numerous additional banks, and the Moore numbers appear after the name of each listing. Other books on still banks include Iron Safe Banks by Bob and Shirley Peirce (SBCCA publication), The Bank Book by Bill Norman (N), Coin Banks by Banthrico by James Redwine (R), and Monumental Miniatures by Madua & Weingarten (MM). We indicate the Whiting or other book reference number, with the abbreviation noted above, at the end of the listing.

At the time of her introduction in 1959, no one could have guessed that this statuesque doll would become a national phenomenon and eventually the most famous girl’s plaything ever produced. Over the years, Barbie and her growing range of family and friends have evolved with the times, serving as an excellent mirror of the fashion and social changes taking place in American society. Today, after more than 50 years of continuous production, Barbie’s popularity remains unabated among both young girls and older collectors. Early and rare Barbies can sell for remarkable prices, and it is every Barbie collector’s hope to ﬁnd a mint condition #1 Barbie. 씰Bubblecut Barbie, introduced 1961, rounded hairstyle, blonde, brunette, or titian (red) hair, red jersey one-piece swimsuit, matching red open toe heels and a gold wrist tag, mint in box.............................................................. $1,400

Ponytail #1 Barbie, introduced 1959, unique feature is drilled holes in feet lined with copper tubing to allow it to rest on stand, stand included with box, produced with both blond and brunette hair, brunette variation more valuable because of rarity, mint in box with stand................................$9,000

Ponytail #2 Barbie, no holes in feet, produced in blond and brunette hair, mint in box ..... $7,000

Growin’ Pretty Hair Barbie, introduced 1971, with retractable ponytail, included came with hairpieces and accessories, mint in box .................................... $300

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Barbie

BARBIE

34

Free Moving Barbie, introduced 1974, with lever on back to swing arms and upper torso, mint in box........... $100

쑿Montgomery Ward 100th Anniversary “Original Barbie” reissue, released in 1972 to commemorate Montgomery Wards’ 100 years in business, with reproduction Barbie dressed in black-and-white swimsuit of an early Ponytail, sold in a sparsely illustrated pink box under the name “The Original Barbie;” dolls ordered through the store’s catalog were shipped in plain boxes, mint in box ............................................ $800

Baseball was reputedly invented by Abner Doubleday as he laid out a diamond-shaped ﬁeld with four bases at Cooperstown, New York. A popular game from its inception, by 1869 it was able to support its ﬁrst allprofessional team, the Cincinnati Red Stockings. The National League was organized in 1876, and though the American League was ﬁrst formed in 1900, it was not ofﬁcially recognized until 1903. Today, the “national pastime” has millions of fans, and collecting baseball memorabilia has become a major hobby with enthusiastic collectors seeking out items associated with players such as Babe Ruth, Lou Gehrig, and others who became legends in their own lifetimes. Although baseball cards, issued as advertising premiums for bubble gum and other products, seem to dominate the ﬁeld, there are numerous other items available.

The Magnificent Yankee: Mickey Mantle During his 18-year Major League career, Mickey Mantle led the New York Yankees to seven World Series titles while being named American League MVP three times. In 1956 Mantle won the Triple Crown, by leading the league in home runs, runs batted in, and batting average. In 1961 he and Yankee teammate Roger Maris produced one of the most memorable home run races in the history of baseball. Maris hit 61 homers that year, breaking Babe Ruth’s home run record set in 1927. Mantle hit 54 home runs in an injury-shortened season. By the time he retired after the 1968 season, Mantle had hit 536 home runs and was selected to the American League All-Star team 16 times. Inducted into the Baseball Hall of Fame in 1974, Mantle died in 1995. But he remains one of the most popular baseball players of all time. His baseball cards, associated memorabilia, and signed items are highly collectible. For more information on Mickey Mantle, see Mickey Mantle: Memories and Memorabilia by Larry Canale.

Mickey Mantle World Series Display, 40” x 52.5”, framed, features 16 World Series ticket stubs from games in which Mantle hit a record 18 home runs. Also features cut signatures of the 15 pitchers who gave up the home runs to Mantle. ................................................ $6,463

Print, advertising-type, black & white photo of Mickey Mantle & Roger Maris posed holding a bat, advertising the Holiday Inn in Joplin, Missouri, where Mantle had been a member of their Minor League team, 1960s, two minor creases, excellent condition, 8 x 10”............$346

Program - score book, ‘Souvenir Score Book - Price Ten Cents - Red Sox - American League vs Brooklyn - National League - 1916 - World’s Series - Braves Field - Boston, Mass.,’ the cover printed in red & dark blue & including photos of league & team ofﬁcials, important because Babe Ruth was still a member of the Boston team & his photo is shown on the back cover, mild vertical crease, moderate cover stain, overall very good condition ................ $1,180

Tintype, 1/6th plate, rare cased image of ballplayer Candy Cummings, inventor of the curveball, posed on the left w/an unknown player, one of only four known images of Cummings, mid-19th c., closed 3 1/4 x 3 3/4” ............................................................. $407

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Baskets

BASKETS

Baskets The American Indians were the ﬁrst basket weavers on this continent and, of necessity, the early Colonial settlers and their descendants pursued this artistic handicraft to provide essential containers for berries, eggs and endless other items to be carried or stored. Rye straw, split willow and reeds are but a few of the wide variety of materials used. Nantucket baskets, plainly and sturdily constructed, along with those made by specialized groups, would seem to draw the greatest attention to this area of collecting.

Bells Bells—one of the oldest forms of art—hearken back centuries to ancient civilizations long gone. They are steeped in mystery, surrounded by legends of special powers ranging from thwarting demons to invoking curses and lifting spells. In general, bells were most often used as a signal, marking signiﬁcant points of ritual, calling to worship, tolling the hours, announcing events, and helping communities to rejoice, mourn, or send warning. Their power was at one time extremely signiﬁcant to many religions. Bells have also been treasured as patriotic symbols and war trophies. Most cultures today have turned these utilitarian objects into works of art with respect to shape, materials, and ornamentation. Created of porcelain, wood, metal, china, crystal, and other materials, the melodious chimers are a double joy for collectors because they are both lovely to hear and to look at. American Peach Blow Glass Bell, maker unknown, circa 1900, unsigned, 7” h., no clapper ............. $335

Bookends Once a staple in many homes, bookends serve both functional and decorative purposes. They not only keep a person’s books in order, they look good while they’re doing it. Bookends are commonly made of a variety of metals (bronze, brass, pewter, silver plate) as well as organic materials (marble, wood). The art they feature represents many subjects, with wildlife, domesticated animals and pets, sports ﬁgures or items, nautical themes, and fantasy themes as favorites. The value of an antique bookend is determined by its age, the material it is made from, what it represents, the company that created it, and how scarce it is.

Theodore Roosevelt , circa early 1900s, bronze, each signed, “Paul Herzel” (American, 1876-1950), probably individual pieces from two separate sets of book ends united later, patinas are slightly different, and one has Roosevelt’s name across the front of the base, while the other has it across the back, 6” h. x 4-3/8” w. x 2” d., pair .............................................. $403

Bottles Interest in bottle collecting is strong and continues to gain popularity, with new bottle clubs forming throughout the United States and Europe. More collectors are spending their free time digging through old dumps, foraging through ghost towns, digging out old outhouses, exploring abandoned mine shafts, and searching out their favorite bottle at antiques shows, swap meets, ﬂea markets, and garage sales. In addition, the Internet offers collectors opportunities and resources without ever leaving the house. Most collectors still look beyond the type and value of a bottle to its origin and history. Researching the history of bottles can be as interesting as ﬁnding the bottle itself. Michael Polak, bottle expert 씱Carter’s - Liver Bitters - C.M. Co. New York, oval, rounded shoulder, smooth base, tooled mouth, ca. 1890-1900, amber, 8 1/4” h. (front & back) .....................................................................................$448

■ Bitters __________________________________________ (Numbers with some listings below refer to those used in Carlyn Ring’s For Bitters Only.)

◆ A pontil is a circular scar left on the bottom center of a handblown bottle. After the glassblower blows a bottle with a blowpipe, he attaches a pontil rod to the bottom of the bottle with a small blob of molten glass. Then he breaks the blowpipe from the neck and forms the lip of the bottle. Once the lip is finished, he snaps the pontil rod off the base of the bottle, leaving the pontil.

◆ While bubbles in glass add interesting visual effects and evidence that a bottle has been hand blown, they do not of themselves raise the value of a bottle. In fact, they are considered flaws and can lower the value of bottles.

◆ Be aware of what’s in the bottles you are buying and selling, as some bottles may contain their original contents of liquor, cocaine, opium, or poison. All can be dangerous and/or illegal to sell. ◆ A freeblown bottle is one in which the glassblower has used only a blowpipe and has molded the final shape by hand, rather than blowing the blob of glass into a mold.

Target Balls ◆ Target balls had a brief but colorful life, bursting on the scene around 1876 before fading out altogether by 1895. During that small window of time, glass balls—similar in size and shape to glass Christmas tree ornaments—were stuffed with feathers and sawdust and catapulted from spring-loaded traps to be hit by shooters. They’d explode in the air in a feathery, dusty cloud, as a bird would. In fact, target balls were introduced because the bird population was declining. During their heyday, target balls were produced by the millions, and not just here in the United States. Manufacturers sprang up in England, France, Germany and Australia, too. These glass orbs sold for a penny apiece back then, but today a rare example like the Agnew & Brown ball can command a hefty price tag. But it’s entirely possible to buy a nice ball for around $200. All photos are courtesy American Bottle Auctions

The name Belleek refers to an industrious village in County Fermanagh, Northern Ireland, on the banks of the River Erne, and to the lustrous porcelain wares produced there. In 1849, John Caldwell Bloomﬁeld inherited a large estate near Belleek. Interested in ceramics, and having discovered rich deposits of feldspar and kaolin (china clay) on his lands, he soon envisioned a pottery that would make use of these materials, local craftspeople and water power of the River Erne. He was also anxious to enhance Ireland’s prestige with superior porcelain products. Bloomﬁeld had a chance meeting with Robert Williams Armstrong who had established a substantial architectural business building potteries. Keenly interested in the manufacturing process, he agreed to design, build, and manage the new factory for Bloomﬁeld. The factory was to be located on Rose Isle on a bend in the River Erne. Bloomﬁeld and Armstrong then approached David McBirney, a highly successful merchant and director of railway companies, and enticed him to provide ﬁnancing. Impressed by the plans, he agreed to raise funds for the enterprise. As agreed, the factory was named McBirney and Armstrong, then later D. McBirney and Company. Although 1857 is given as the founding date of the pottery, it is recorded that the pottery’s foundation stone was laid by Mrs. J.C. Bloomﬁeld on Nov. 18, 1858. Although not completed until 1860, the pottery was producing earthenware from its inception. With the arrival of ceramic experts from the (William Henry) Goss Pottery in England, principally William Bromley, Sr. and William Wood Gallimore, Parian ware was perfected and, by 1863, the wares we associate with Belleek today were in production. With Belleek Pottery workers and others emigrating to the United States in the late 1800s and early 1900s, Belleek-style china manufacture, known as American Belleek, commenced at several American ﬁrms, including Ceramic Art Company, Colombian Art Pottery, Lenox Inc., Ott & Brewer, and Willets Manufacturing Co. Throughout its Parian production, Belleek Pottery marked its items with an Irish harp and wolfhound and the Devenish Tower. The 1st Period mark of 1863 through 1890 is shown below. Its 2nd Period began with the advent of the McKinley Tariff Act of 1891 and the (revised) British Merchandise Act as Belleek added the ribbon “Co. FERMANAGH IRELAND” beneath its mark in 1891. Both the 1st and 2nd period marks were black, although they occasionally appeared in burnt orange, green, blue or brown, especially on earthenware items. Its 3rd Period begin in 1926, when it added a Celtic emblem under the 2nd Period mark as well as the government trademark “Reg No 0857,” which was granted in 1884. The Celtic emblem was registered by the Irish Industrial Development Association in 1906 and reads “Deanta in Eirinn,” and means “Made in Ireland.” The pottery is now utilizing its 13th mark, following a succession of three black marks, three green marks, a gold mark, two blue marks and three green. The ﬁnal green mark was used only a single year, in 2007, to commemorate its 150th anniversary. In 2008, Belleek changed its mark to brown. Early earthenware was often marked in the same color as the majority of its surface decoration. Early basketware has Parian strips applied to its base with the impressed verbiage “BELLEEK” and later on, additionally “Co FERMANAGH” with or without “IRELAND.” Current basketware carries the same mark as its Parian counterpart. The item identiﬁcation scheme is that followed within the works by Richard K. Degenhardt: Belleek The Complete Collector’s Guide and Illustrated Reference (both ﬁrst and second edition). Additional information, as well as a thorough discussion of the early marks, is located in these works as well as on the Internet at Del E. Domke’s Web site: http:// home.comcast.net/~belleek_website. The prices given are for items in excellent condition, i.e., no chips, cracks, crazing or repairs. On ﬂowered items, however, minimal chips to the ﬂowering are acceptable, to the extent of the purchaser’s tolerance. Earthenware items often exhibit varying degrees of crazing due to the primitive bottle kilns originally utilized at the pottery. All Irish Belleek photographs used with permission, Rod Kearns, photographer, rkearns bak.rr.com. Visit www.AntiqueTrader.com

◆ The Ceramic Art Company was founded by Walter Scott Lenox in Trenton, New Jersey, in 1889. The firm began as a studio rather than a factory, producing highend, handpainted wares. Its works were of such high quality that within ten years The Smithsonian was displaying examples of its products. In 1906, the company’s name was changed to Lenox. Lenox porcelain was chosen for use at the White House by five U.S. presidents: Wilson, Truman, Reagan, Clinton and George W. Bush. It has also been used in more than 300 U.S. embassies and more than half of the governor’s mansions and remains one of the oldest and most respected potteries in the world.

◆ Replacement value and actual cash value are not the same. Replacement value is the cost required to purchase a comparable item at retail value. Actual cash value is replacement value minus depreciation. Depreciation is a loss in value due to wear and tear. Depreciation is typically calculated by using a depreciation schedule, which mathematically calculates the loss in value according to the number of years the item has been in existence.

◆ Collectors are conscious of the idea of antiques as investments, but it should never be the driving force. The greatest benefit of collecting should be enjoyment, from the thrill of the hunt to learning more about their history. Acquire the highest quality pieces you can afford, learn as much as you can, stay focused, and someday your diligence may be rewarded.

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Bennington

CERAMICS

■ Bennington _____________________________________ Bennington wares, which ranged from stoneware to parian and porcelain, were made in Bennington, Vermont, primarily in two potteries, one in which Captain John Norton and his descendants were principals, and the other in which Christopher Webber Fenton (also once associated with the Nortons) was a principal. Various marks are found on the wares made in the two major potteries, including J. & E. Norton, E. & L. P. Norton, L. Norton & Co., Norton & Fenton, Edward Norton, Lyman Fenton & Co., Fenton’s Works, United States Pottery Co., U.S.P. and others. The popular pottery with the mottled brown on yellowware glaze was also produced in Bennington, but such wares should be referred to as “Rockingham” or “Bennington-type” unless they can be speciﬁcally attributed to a Bennington, Vermont factory.

In the early 17th century, Italian potters settled in Holland and began producing tinglazed earthenwares, often decorated with pseudo-Oriental designs based on Chinese porcelain wares. The city of Delft became the center of this pottery production and several ﬁrms produced the wares throughout the 17th and early 18th century. A majority of the pieces featured blue on white designs, but polychrome wares were also made. The Dutch Delftwares were also shipped to England, where eventually the English copied them at potteries in such cities as Bristol, Lambeth and Liverpool. Although still produced today, Delft peaked in popularity by the mid-18th century.

■ Doulton & Royal Doulton __________________________ Doulton & Company, Ltd., was founded in Lambeth, London, in about 1858. It operated there until 1956 and often incorporated the words “Doulton” and “Lambeth” in its marks. Pinder, Bourne & Company Burslem was purchased by the Doultons in 1878 and in 1882 became Doulton & Company Ltd. It added porcelain to its earthenware production in 1884. The “Royal Doulton” mark has been used since 1902 by this factory, which is still in operation. Character jugs and ﬁgurines are commanding great attention from collectors at the present time. John Doulton, the founder, was born in 1793. He became an apprentice at the age of 12 to a potter in south London. Five years later he was employed in another small pottery near Lambeth. His two sons, John and Henry, subsequently joined their father in 1830 in a partnership he had formed with the name of Doulton & Watts. Watts retired in 1864 and the partnership was dissolved. Henry formed a new company that traded as Doulton & Company. In the early 1870s the proprietor of the Pinder Bourne Company, located in Burslem, Staffordshire, offered Henry a partnership. The Pinder Bourne Company was purchased by Henry in 1878 and became part of Doulton & Company in 1882. With the passage of time, the demand for the Lambeth industrial and decorative stoneware declined whereas demand for the Burslem manufactured and decorated bone china wares increased. Doulton & Company was incorporated as a limited liability company in 1899. In 1901 the company was allowed to use the word “Royal” on its trademarks by Royal Charter. The well known “lion on crown” logo came into use in 1902. In 2000 the logo was changed on the company’s advertising literature to one showing a more stylized lion’s head in proﬁle. Today Royal Doulton is one of the world’s leading manufacturers and distributors of premium grade ceramic tabletop wares and collectibles. The Doulton Group comprises Minton, Royal Albert, Caithness Glass, Holland Studio Craft and Royal Doulton. Royal Crown Derby was part of the group from 1971 until 2000 when it became an independent company. These companies market collectibles using their own brand names. 씱Vase, 7” h., Titanian Ware, bulbous ovoid body w/ﬂared foot & wide ﬂat mouth, h.p. scene of two large perched birds, designed by Edward Raby, ca. 1920......................................................................................... $1,000

Teapot, cov., ﬁgural Old Salt model, the body in the image of a sailor mending a net, a mermaid forming the handle, designed by William K. Harper, introduced in 1989 ............................................. $300

KINGSWARE This line of earthenware featured a very dark brown background often molded with scenes or ﬁgures trimmed in color and covered with a glossy glaze. All pieces in this line were designed by the leading Royal Doulton designer, Charles Noke.

◆ Hannah Barlow was one of nine children born to Iram and Hannah Barlow in Hertfordshire, England, in the mid-1800s. Hannah and the two siblings, Florence and Albert, gained recognition as superb Doulton studio artists. ◆ Repairing valuable ceramics should be left to professionals who can do the job expertly and minimize loss of value to the piece. Of course, the cost of the repair should be weighed against the value of the piece. But keep in mind that poorly done, do-it-yourself repairs can generally not be undone and will permanently lower a piece’s value.

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Fiesta

CERAMICS

■ Fiesta __________________________________________ The Homer Laughlin China Company originated with a two-kiln pottery on the banks of the Ohio River in East Liverpool, Ohio. Built in 1873-’74 by Homer Laughlin and his brother, Shakespeare, the ﬁrm was ﬁrst known as the Ohio Valley Pottery, and later Laughlin Bros. Pottery. It was one of the ﬁrst white-ware plants in the country. After a tentative beginning, the company was awarded a prize for having the best whiteware at the 1876 Centennial Exposition in Philadelphia. Three years later, Shakespeare sold his interest in the business to Homer, who continued on until 1897. At that time, Homer Laughlin sold his interest in the newly incorporated ﬁrm to a group of investors, including Charles, Louis, and Marcus Aaron and the company bookkeeper, William E. Wells. Under new ownership in 1907, the headquarters and a new 30-kiln plant were built across the Ohio River in Newell, West Virginia, the present manufacturing and headquarters location. In the 1920s, two additions to the Homer Laughlin staff set the stage for the company’s greatest success: the Fiesta line. Dr. Albert V. Bleininger was hired in 1920. A scientist, author, and educator, he oversaw the conversion from bottle kilns to the more efﬁcient tunnel kilns. In 1927, the company hired designer Frederick Hurten Rhead, a member of a distinguished family of English ceramists. Having previously worked at Weller Pottery and Roseville Pottery, Rhead began to develop the artistic quality of the company’s wares, and to experiment with shapes and glazes. In 1935, this work culminated in his designs for the Fiesta line. For more information on Fiesta, see Warman’s Fiesta Identiﬁcation and Price Guide by Glen Victorey.

FIESTA COLORS From 1936 to 1972, Fiesta was produced in 14 colors (other than special promotions). These colors are usually divided into the “original colors” of cobalt blue, light green, ivory, red, turquoise, and yellow (cobalt blue, light green, red, and yellow only on the Kitchen Kraft line, introduced in 1939); the “1950s colors” of chartreuse, forest green, gray, and rose (introduced in 1951); medium green (introduced in 1959); plus the later additions of Casuals, Amberstone, Fiesta Ironstone, and Casualstone (“Coventry”) in antique gold, mango red, and turf green; and the striped, decal, and Lustre pieces. No Fiesta was produced from 1973 to 1985. The colors that make up the “original” and “1950s” groups are sometimes referred to as “the standard 11.” In many pieces, medium green is the hardest to ﬁnd and the most expensive Fiesta color.

Notice the different bottoms of two ashtrays. The left one has a set of rings with no room for a logo. The right ashtray has rings along the outer edge, opposite of the ring pattern on the ashtray above. The red example is an older example. The yellow ashtray with the logo can be dated to a time period after 1940.

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CERAMICS Bottom of No. 1 mixing bowl in green, showing sagger pin marks, the “Fiesta/HLCo. USA” impressed mark, and the faint “1” size indicator. The impressed size mark on the bottom of the No. 2 mixing bowl in Bottom of a teacup saucer in turquoise, showing sagger pin marks and yellow is too faint to be seen in this image. the “Genuine Fiesta” stamp. Fiesta pieces were glazed on the underside, so before being ﬁred, each piece was placed on a stilt to keep it off the ﬂoor of the kiln. The stilt was made up of three sagger pins positioned an equal distance from each other to form three points of a triangle. If you inspect the underside of any piece of Fiesta, which has a completely glazed bottom, you will notice three small blemishes in a triangular pattern. Later in Fiesta’s production run, the undersides of pieces were glazed and then wiped, creating a dry foot, before going into the kiln to be ﬁred.

A 9” cobalt blue plate rests on a stilt with sagger pins to show the basic idea of how it worked. Please note that this stilt is not the exact one that would have been used by Homer Laughlin China Company, but rather an updated style in use today by many ceramic studios.

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Frankoma

CERAMICS

■ Frankoma _______________________________________ John Frank started his pottery company in 1933 in Norman, Oklahoma. However, when he moved the business to Sapulpa, Oklahoma, in 1938, he felt he was home. Still, Mr. Frank could not know the horrendous storms and trials that would follow him. Just after his move, on November 11, 1938, a ﬁre destroyed the entire operation, which included the pot and leopard mark he had created in 1935. Then, in 1942, the war effort needed men and materials so Frankoma could not survive. In 1943, John and Grace Lee Frank bought the plant as junk salvage and began again. The time in Norman had produced some of the ﬁnest art ware that John would ever create and most of the items were marked either “Frank Potteries,” “Frank Pottery,” or to a lesser degree, the “pot and leopard” mark. Today these marks are avidly and enthusiastically sought by collectors. Another elusive mark wanted by collectors shows “Firsts Kiln Sapulpa 6-7-38.” The mark was used for one day only and denotes the ﬁrst ﬁring in Sapulpa. It has been estimated that perhaps 50 to 75 pieces were ﬁred on that day. The clay Frankoma used is helpful to collectors in determining when an items was made. Creamy beige clay know as “Ada” clay was in use until 1953. Then a red brick shale was found in Sapulpa and used until about 1985 when, by the addition of an additive, the clay became a reddish pink. Rutile glazes were used early in Frankoma’s history. Glazes with rutile have caused more confusion among collectors than any other glazes. For example, a Prairie Green piece shows a lot of green and it also has some brown. The same is true for the Desert Gold glaze; the piece shows a sandy-beige glaze with some amount of brown. Generally speaking, Prairie Green, Desert Gold, White Sand, and Woodland Moss are the most puzzling to collectors. In 1970 the government closed the rutile mines in America and Frankoma had to buy it from Australia. It was not the same so the results were different. Values are higher for the glazes with rutile. Also, the pre-Australian Woodland Moss glaze is more desirable than that created after 1970. After John Frank died in 1973, his daughter Joniece Frank, a ceramic designer at the pottery, became president of the company. In 1983 another ﬁre destroyed everything Frankoma had worked so hard to create. They rebuilt but in 1990, after the IRS shut the doors for nonpayment, Joniece, true to the Frank legacy, ﬁled for Chapter 11 (instead of bankruptcy) so she could reopen and continue the work she loved. In 1991 Richard Bernstein purchased the pottery and the name was changed to Frankoma Industries. The company was sold again in 2006. The new buyers are concentrating mostly on dinnerware, none of which is like the old Frankoma. They have a “Collectors Series,” “Souvenir & State Items,” and “Heartwarming Trivets.” None of these is anything like what Frankoma originally created. The company is doing some Frankoma miniatures such as a dolphin on a wave, a ﬁsh, a wolf, a bear, etc. These, too, do not resemble Frankoma miniatures, and all their glazes are new.

■ Fulper Pottery ___________________________________ The Fulper Pottery was founded in Flemington, New Jersey, in 1805 and operated until 1935, although operations were curtailed in 1929 when its main plant was destroyed by ﬁre. The name was changed in 1929 to Stangl Pottery, which continued in operation until July of 1978, when Pfaltzgraff, a division of Susquehanna Broadcasting Company of York, Pennsylvania, purchased the assets of the Stangl Pottery, including the name.

Some ﬁne art pottery was produced by the Grueby Faience and Tile Company, established in Boston in 1891. Choice pieces were created with molded designs on a semi-porcelain body. The ware is marked and often bears the initials of the decorators. The pottery closed in 1907.

■ Hall China ______________________________________ Founded in 1903 in East Liverpool, Ohio, this stilloperating company at ﬁrst produced mostly utilitarian wares. It was in 1911 that Robert T. Hall, son of the company founder, developed a special single-ﬁre, lead-free glaze that proved to be strong, hard and nonporous. In the 1920s the ﬁrm became well known for its extensive line of teapots (still a major product), and in 1932 it introduced kitchenwares, followed by dinnerwares in 1936 and refrigerator wares in 1938. The imaginative designs and wide range of glaze colors and decal decorations have led to the growing appeal of Hall wares with collectors, especially people who like Art Deco and Art Moderne design. One of the ﬁrm’s most famous patterns was the “Autumn Leaf” line, produced as premiums for the Jewel Tea Company. For listings of this ware see “Jewel Tea Autumn Leaf.” Helpful books on Hall include The Collector’s Guide to Hall China by Margaret & Kenn Whitmyer, and Superior Quality Hall China - A Guide for Collectors by Harvey Duke (An ELO Book, 1977).

Haviland porcelain was originated by Americans in Limoges, France, shortly before the mid-19th century and continues in production. Some Haviland was made by Theodore Haviland in the United States during the last World War. Numerous other factories also made china in Limoges.

The A.E. Hull Pottery Company grew from the clay soil of Perry County, Ohio, in 1905. By the 1930s, its unpretentious line of ware could be found in shops and, more importantly, homes from coast to coast, making it one of the nation’s largest potteries. Leveled by ﬂood and ensuing ﬁre in 1950, like a phoenix, Hull rose from the ashes and reestablished its position in the marketplace. Less than four decades later, however, the ﬁrm succumbed after eight bitter strikes by workers, leaving behind empty buildings, memories and the pottery shown in this volume. Addis Emmet Hull founded A.E. Hull Pottery in July 1905. By the time the company was formed, the Crooksville/Roseville/Zanesville area was already well established as a pottery center. Hull constructed an all-new pottery, featuring six kilns, four of them large natural gas-ﬁred beehive kilns. The early years were good to Hull. In fact, after only two years of operation, Hull augmented the new plant by taking over the former facilities of the Acme pottery. By 1910, Hull was claiming to be the largest manufacturer of blue-banded kitchenware in the United States. By 1925 production reached three million pieces annually. This early ware included spice and cereal jars and salt boxes. Some of these items were lavishly decorated with decals, high-gloss glazes or bands. This evolved into some early art ware pieces including vases and ﬂowerpots. However, Hull could not keep up with the demand, especially the growing demand for artwares, which could be sold in ﬁve and dime stores. Hence, Addis Hull visited Europe and made arrangements to import decorative items from Czechoslovakia, England, France, Germany and Italy. To accommodate the inﬂux of these items, Hull opened a facility in Jersey City, N.J. This arrangement continued until 1929, when import operations were discontinued. In 1926 Plant 1 was converted to manufacture decorative ﬂoor and wall tiles, which were popular at the time. But by the time of Addis Hull’s death in 1930, the company bearing his name was exiting the tile business. Plant 1, Hull’s original, which had been converted to the now-discontinued line of tile production as well as being elderly, was closed in 1933. When Addis Hull Sr. died in 1930, management of the works was passed to his son, Addis Hull Jr., who was involved in the formation of the Shawnee Pottery Company. By the late 1930s, Addis Junior left the family business and assumed the presidency of Shawnee. World War II affected the entire nation, and Hull was no exception. This time period saw the production of some of Hull’s most famous lines, including Orchid, Iris, Tulip and Poppy. Their airbrushed matte hues of pink, blue, green and yellow became synonymous with the Hull name. Sales of such wares through chain and dime stores soared. The close of the decade saw the emergence of high-gloss glazed art pottery as the growing trend in decorative ceramics. Hull responded initially by merely changing the glaze applied to some of its earlier lines. Another signiﬁcant development of the time was the growing inﬂuence of designer Louise Bauer on Hull’s lines. First and most notable was her 1943 Red Riding Hood design, but also signiﬁcant were her Bow-Knot and Woodland lines. While the late 1940s and early 1950s saw the demise of long-time rivals Weller and Roseville, business at Hull ﬂourished. This is particularly surprising given that on June 16, 1950, the pottery was completely destroyed by a ﬂood, which in turn caused the kiln to explode, and the ensuing ﬁre ﬁnished off the venerable plant. B-17 Bow-Knot candleholders, 4”. .. $150-$175 each

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Hull Pottery A new plant ofﬁcially opened on Jan. 1, 1952. With the new plant came a new company name – Hull Pottery Company. Hull entered into dinnerware manufacture in the early 1960s at the behest of one of its largest customers, the J.C. Penney Company. Penney, whose offers to purchase Pfaltzgraff dinnerware were declined by the manufacturer, turned to Hull to create a competitive line. Hull’s response to this was the new House ’n Garden line, which would remain in production until 1967 and would grow to 100 items. During the 1970s and 1980s, the pottery was closed by no fewer than eight strikes, one of which lasted for seven weeks. The eighth and ﬁnal strike by workers sounded the death knell for the pottery. In 1986, the Hull Pottery Company ceased business operations. For more information on Hull pottery, see Warman’s Hull Pottery Identiﬁcation and Price Guide by David Doyle.

Among Hull’s Early Art stoneware offerings was this hanging basket in green, blue and red high glaze. The unmarked basket measures 7-1/2” wide by 4-3/4” tall. ........................................................$75-$125

Although the entire Thistle line was made up of only four molds, one form of variety was the result of using different patterns on the front and rear of the vases. This is the No. 51 6-1/2” vase. $75-$100

Variety also came in the form of varying the coloration of the pieces. This is the Thistle No. 53 6-1/2” vase. ...............$100-$125

Like most of Hull’s decorative pottery, the Tulip pattern was produced in more than one color combination. No. 115 7” jardinière. .............................................................. $275-$325

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No. T53 Tropicana vase, 8-1/2”. . $325-$425

No. 28 Vegetable cookie jar. ........ $60-$80

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Hull Pottery

CERAMICS

132

L-A Water Lily vase, 8-1/2”.....................$200-$225

L-14 Water Lily basket, 10-1/2”..............$300-$375

No. 54 Wildﬂower vases, 6-1/4”...... $150-$175 each

L-25 Water Lily ﬂowerpot, 5-1/4”. ...........$150-$175

W-2 Wildﬂower ewer, 5-1/2”. ..................$100-$125

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This pink and blue Wildﬂower basket is one of the more sought after by “W” series item is this 10-1/2” basket. It is marked “Hull Art USA W-16-10 1/2”.” ............................................................$250-$350

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Hull Pottery

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CERAMICS W7 Woodland Hi-Gloss jardinière, 5-1/2”. $150-$200

One of the most desirable of the later “W-series” Hull Wildﬂower items is this 15-1/2” tall ﬂoor vase. Marked “Hull Art USA W-20-15 1/2”,” the example shown here is ﬁnished in a dusty rose shade. ....... $450-$550

W7 Woodland jardinière, 5-1/2”. .............$150-$200

W26 Woodland Hi-Gloss teapot, 6-1/2”. ..$400-$500

W11 Woodland ﬂowerpot, 5-3/4”. ...........$150-$200

W12 Woodland hanging basket, 7-1/2”. ...$400-$500

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W23 Woodland double cornucopia, 14”. ..$500-$600

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134

Ironstone

CERAMICS

■ Ironstone _______________________________________ The ﬁrst successful ironstone was patented in 1813 by C.J. Mason in England. The body contains iron slag incorporated with the clay. Other potters imitated Mason’s ware, and today much hard, thick ware is lumped under the term ironstone. Earlier it was called by various names, including graniteware. Both plain white and decorated wares were made throughout the 19th century. Tea Leaf Lustre ironstone was made by several ﬁrms.

◆ Ironstone can darken with age, but it should never be cleaned with chlorine bleach, as it will destroy the glaze. ◆ The tea leaf decoration probably orginated from a superstition that finding a complete open tea leaf at the bottom of a tea cup would bring good luck. Vegetable dish, cov., Bullet patt., A. Shaw, minor ﬂaws .............................................................. $65

■ Limoges ________________________________________ Limoges is a magical word for those who love beautiful French porcelain. The word is synonymous with ﬁne porcelain, but the name belongs to a special city in central France. Here, in the 18th and 19th centuries, a number of porcelain factories were established because deposits of the special clays required to produce true hard paste porcelain were located nearby. The best known of these Limoges factories was founded by the Haviland family; however, there were many other ﬁrms that produced wares just as ﬁne. All Limoges-made porcelain is high quality and worthy of collector interest.

In 1851, an English potter was hoping that his new interpretation of a centuries-old style of ceramics would be well received at the “Great Exhibition of the Industries of All Nations” set to open May 1 in London’s Hyde Park. Potter Herbert Minton had high hopes for his display. His father, Thomas Minton, founded a pottery works in the mid-1790s in Stoke-on-Trent, Staffordshire. Herbert Minton had designed a “new” line of pottery, and his chemist, Leon Arnoux, had developed a process that resulted in vibrant, colorful glazes that came to be called “majolica.” Trained as an engineer, Arnoux also studied the making of encaustic tiles, and had been appointed art director at Minton’s works in 1848. His job was to introduce and promote new products. Victorian fascination with the natural world prompted Arnoux to reintroduce the work of Bernard Palissy, whose naturalistic, bright-colored “maiolica” wares had been created in the 16th century. But Arnoux used a thicker body to make pieces sturdier. This body was given a coating of opaque white glaze, which provided a surface for decoration. Pieces were modeled in high relief, featuring butterﬂies and other insects, ﬂowers and leaves, fruit, shells, animals and ﬁsh. Queen Victoria’s endorsement of the new pottery prompted its acceptance by the general public. When Minton introduced his wares at Philadelphia’s 1876 Centennial Exhibition, American potters also began to produce majolica. For more information on majolica, see Warman’s Majolica Identiﬁcation and Price Guide by Mark F. Moran.

Holdcroft pond lily foot cachepot strong color and detail, 7” diameter, 5-3/4” tall. (Collector tip: Joseph Holdcroft majolica ware was produced at Daisy Bank in Longton, Staffordshire, England, from 1870 to 1885. Items can be found marked with “JHOLDCROFT,” but many items can only be attributed by the patterns and colors that are documented to have come from the Holdcroft potteries.) ............... $700+

George Jones rustic ﬂoral creamer, Bacall Collection, 3” tall. (Collector tip: The company started operations in the early 1860s as George Jones in Stoke, Staffordshire, England, and in 1873 became George Jones & Sons Ltd.) ................................................... $350+

Thomas Sergent Palissy shells, fern and leaf jardinière, great detail, 7-1/2” tall, 10” diameter. (Collector tip: Thomas-Victor Sergent was one of the School of Paris ceramists of the late 19th century who was inﬂuenced by the works of Bernard Palissy, c. 1510-1590, the great French Renaissance potter.) ............................................................ $800+

George Jones apple blossom and basket weave mug, good color and detail, 5-1/2” tall. (Collector tip: The company started operations in the early 1860s as George Jones in Stoke, Staffordshire, England, and in 1873 became George Jones & Sons Ltd.).....$2,000+

쑿Holdcroft cobalt pond lily ice-lip pitcher, great color, 9-1/2” tall. (Collector tip: Joseph Holdcroft majolica ware was produced at Daisy Bank in Longton, Staffordshire, England, from 1870 to 1885. Items can be found marked with “JHOLDCROFT,” but many items can only be attributed by the patterns and colors that are documented to have come from the Holdcroft potteries.)................................... $800-$1,200 씱Hugo Lonitz small dolphin footed planter with mythological faces on ends, cobalt accents, 6” wide, 5” tall. (Collector tip: Hugo Lonitz operated in Haldensleben, Germany, from 1868-1886, and later Hugo Lonitz & Co., 1886-1904, producing household and decorative porcelain and earthenware, and metal wares. Look for a mark of two entwined ﬁsh.) . $170+

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Majolica

CERAMICS

Sarreguemines pair of cobalt mythological-head hanging planters with leaves and foliage in high relief, great color, shape no. 557, 11” diameter, 6” tall. (Collector tip: Named for the city in the AlsaceLorraine region of northeastern France.) ... $850+ pair

Holdcroft cobalt leaf plate strong color, 8-1/4” diameter. (Collector tip: Joseph Holdcroft majolica ware was produced at Daisy Bank in Longton, Staffordshire, England, from 1870 to 1885. Items can be found marked with “JHOLDCROFT,” but many items can only be attributed by the patterns and colors that are documented to have come from the Holdcroft potteries.)........................................................ $385+

George Jones overlapping ferns and leaves platter with twig handles, strong color and detail, 14” wide. (Collector tip: The company started operations in the early 1860s as George Jones in Stoke, Staffordshire, England, and in 1873 became George Jones & Sons Ltd.) .........................................................$2,300+

Above left: Holdcroft cobalt water lily and bamboo umbrella stand, strong color, 23” tall. (Collector tip: Joseph Holdcroft majolica ware was produced at Daisy Bank in Longton, Staffordshire, England, from 1870 to 1885. Items can be found marked with “JHOLDCROFT” but many items can only be attributed by the patterns and colors that are documented to have come from the Holdcroft potteries.) ....................................................................................$3,250+ Above right: W.S. & S. vase with mask feet and handles, 12-1/2”, (Collector tip: Wilhelm Schiller and Sons, Bodenbach, Bohemia, established 1885.) ..............................................................$500+

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McCoy

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■ McCoy Pottery ___________________________________

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CERAMICS

The ﬁrst McCoy with clay under his ﬁngernails was W. Nelson McCoy. With his uncle, W.F. McCoy, he founded a pottery works in Putnam, Ohio, in 1848, making stoneware crocks and jugs. That same year, W. Nelson’s son, James W., was born in Zanesville, Ohio. James established the J.W. McCoy Pottery Co. in Roseville, Ohio, in the fall of 1899. The J.W. McCoy plant was destroyed by ﬁre in 1903 and was rebuilt two years later. It was at this time that the ﬁrst examples of Loy-Nel-Art wares were produced. The line’s distinctive title came from the names of James McCoy’s three sons, Lloyd, Nelson, and Arthur. Like other “standard” glazed pieces produced at this time by several Ohio potteries, Loy-Nel-Art has a glossy ﬁnish on a dark brown-black body, but Loy-Nel-Art featured a splash of green color on the front and a burnt-orange splash on the back. George Brush became general manager of J.W. McCoy Pottery Co. in 1909. The company became Brush-McCoy Pottery Co. in 1911, and in 1925 the name was shortened to Brush Pottery Co. This ﬁrm remained in business until 1982. Separately, in 1910, Nelson McCoy Sr. founded the Nelson McCoy Sanitary and Stoneware Co., also in Roseville. By the early 1930s, production had shifted from utilitarian wares to art pottery, and the company name was changed to Nelson McCoy Pottery. Designer Sydney Cope was hired in 1934, and was joined by his son, Leslie, in 1936. The Copes’ inﬂuence on McCoy wares continued until Sydney’s death in 1966. That same year, Leslie opened a gallery devoted to his family’s design heritage and featuring his own original art. Nelson McCoy Sr. died in 1945, and was succeeded as company president by his nephew, Nelson McCoy Melick. A ﬁre destroyed the plant in 1950, but company ofﬁcials—including Nelson McCoy Jr., then 29—decided to rebuild, and the new Nelson McCoy Pottery Co. was up and running in just six months. Nelson Melick died in 1954. Nelson Jr. became company president, and oversaw the company’s continued growth. In 1967, the operation was sold to entrepreneur David Chase. At this time, the words “Mt. Clemens Pottery” were added to the company marks. In 1974, Chase sold the company to Lancaster Colony Corp., and the company marks included a stylized “LCC” logo. Nelson Jr. and his wife, Billie, who had served as a products supervisor, left the company in 1981. In 1985, the company was sold again, this time to Designer Accents. The McCoy pottery factory closed in 1990. For more information on McCoy pottery, see Warman’s McCoy Pottery, 2nd edition, by Mark F. Moran.

Mixing bowl in the Wave or Sunrise pattern, size No. 7, from a set of six ranging in size from 5” to 11” diameter, 1920s, square bottom, also found in yellow and burgundy; and three 5” mixing bowls in green, yellow, and burgundy. Complete set ..................................... about $1,200 Individual sizes range from .........................................$175-$250 each

Sport Fishing planter with cold-paint decoration on brown bisque-style ﬁnish, from the 1956 line of sports planters, which also included a golf and bowling planter, USA mark, 6-1/4” l. .............$125-$150

Three Flower form wall pockets, late 1940s, unmarked, 6” h; the blue and coral are common colors .. $40-$50 The center pocket, with under-glaze decoration ......................................................................... $175-$225

Fan wall pocket with crisp mold and unusual multicolor glaze, 1950s, McCoy USA mark, also signed by Nelson McCoy, 8-1/2” w; two hanging holes and no brace; no other example with these variations is known. ...........................................................................................$5,000+

■ Meissen ________________________________________ The secret of true hard paste porcelain, known long before to the Chinese, was “discovered” accidentally in Meissen, Germany by J.F. Bottger, an alchemist working with E.W. Tschirnhausen. The ﬁrst European true porcelain was made in the Meissen Porcelain Works, organized about 1709. Meissen marks have been widely copied by other factories.

Figure group, a young mother in 18th c. costume seated holding her bare-bottomed toddler across her lap w/a switch to spank it in her other hand, her young daughter pulling at her arm to dissuade her, on a round molded & gilt-trimmed base, blue crossed-swords mark, late 19th c., 10 1/4" h. ................................................................. $3,585

■ Nippon _________________________________________ “Nippon” is a term used to describe a wide range of porcelain wares produced in Japan from the late 19th century until about 1921. It was in 1891 that the United States implemented the McKinley Tariff Act, which required that all wares exported to the United States carry a marking indicating their country of origin. The Japanese chose to use “Nippon,” their name for Japan. In 1921 the import laws were revised and the words “Made in” had to be added to the markings. Japan was also required to replace the “Nippon” with the English name “Japan” on all wares sent to the United States. Many Japanese factories produced Nippon porcelain, much of it hand-painted with ornate ﬂoral or landscape decoration and heavy gold decoration, applied beading and slip-trailed designs referred to as “moriage.” We indicate the speciﬁc marking used on a piece, when known, at the end of each listing. Be aware that a number of Nippon markings have been reproduced and used on new porcelain wares. Important reference books on Nippon include: The Collector’s Encyclopedia of Nippon Porcelain, Series One through Three, by Joan F. Van Patten (Collector Books, Paducah, Kentucky) and The Wonderful World of Nippon Porcelain, 1891-1921 by Kathy Wojciechowski (Schiffer Publishing, Ltd., Atglen, Pennsylvania).

Noritake china, still in production in Japan, has been exported in large quantities to this country since early in the last century. Although the Noritake Company ﬁrst registered in 1904, it did not use “Noritake” as part of its backstamp until 1918. Interest in Noritake has escalated as collectors now seek out pieces made between the “Nippon” era and World War II (1921-41). The Azalea pattern is also popular with collectors.

◆ Repairing valuable ceramics should be left to professionals who can do the job expertly and minimize loss of value to the piece. Of course, the cost of the repair should be weighed against the value of the piece. But keep in mind that poorly done, do-it-yourself repairs can generally not be undone and will permanently lower a piece’s value 쑿Basket, short form w/extremely ﬂaring sides, decorated inside & out in/ﬂoral motif in peach, pearl grey & black, silvered rim & center handle, 4 1/2" d., 6 1/2" h. . $188 씱Calendar holder, narrow rectangular base w/an upright oblong holder at one end & a ﬂattened ﬁgural rabbit at the other end, iridized orange & green w/stylized purple & blue blossoms, 5 1/4" l., 2" h................................... $720

Jug, slender ovoid form w/cut-out handle at top & short cylindrical spout set in body at an angle, the top a deep cyan w/black line trim, the rest of the body a deep red ground decorated w/scene of an 18th-c. woman w/powdered hair & wearing a blue off- the-shoulder top & full white skirt holding a songbird on one outstretched ﬁnger, the birdcage open in front of her, all against a background of shade trees & arbor vitae, the foreground w/yellow roses, 3 1/2 x 4 1/4", 7 1/2" h. .................................................................... $325

■ Paul Revere Pottery _______________________________ This pottery was established in Boston, Massachusetts, in 1906, by a group of philanthropists seeking to establish better conditions for underprivileged young girls of the area. Edith Brown served as supervisor of the small “Saturday Evening Girls Club” pottery operation, which was moved, in 1912, to a house close to the Old North Church where Paul Revere’s signal lanterns had been placed. The wares were mostly hand decorated in mineral colors, and both sgrafﬁto and molded decorations were employed. Although it became popular, it was never a proﬁtable operation and always depended on ﬁnancial contributions to operate. After the death of Edith Brown in 1932, the pottery foundered and ﬁnally closed in 1942.

■ Red Wing Pottery _________________________________ Various potteries operated in Red Wing, Minnesota, from 1868, the most successful being the Red Wing Stoneware Co., organized in 1877. Merged with other local potteries through the years, it became known as Red Wing Union Stoneware Co. in 1906 and was one of the largest producers of utilitarian stoneware items in the United States. After a decline in the popularity of stoneware products, an art pottery line was introduced to compensate for the loss. This was reﬂected in a new name for the company, Red Wing Potteries, Inc., in 1936. Stoneware production ceased entirely in 1947, but vases, planters, cookie jars, and dinnerware of art pottery quality continued in production until 1967, when the pottery ceased operation altogether. For more information on Red Wing pottery, see Warman’s Red Wing Pottery Identiﬁcation and Price Guide by Mark F. Moran.

CHURNS

One-of-a-kind “lunch hour” churn about 1-1/2 gallon, with a row of birch leaves stamped all around the base, 11” tall without lid, made in about 18901910. (Collector Tip: Lid is a new salt-glaze style reproduction, 6” diameter.) .......... No established value

Five-gallon white stoneware crock with oval and large wing, the most commonly found size for crocks and jugs. ........................... $70+

Transitional ﬁve-gallon crock with hand-decorated blue-black number and “bowtie,” circa 1900, the glaze on this crock is between white and tan, 13-1/4” tall, unmarked. ........................... $300+

Five-gallon crock with 6” wing, no oval, also with double trim line and a stamped “5” on base; base also shows a ﬁring ring from the smaller crock it sat on in the kiln, 13” tall. .......................................... $250+

Fifteen-gallon salt-glaze crock with cobalt decoration of “bowtie” and double leaves, circa 1890, 18-1/2” tall, unmarked. (Collector Tip: The leaves seen here are precursors to the stenciled or stamped birch-leaf decoration used on white hand-thrown stoneware made just a few years later.) ................ $800-$1,000

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Detail of 15-gallon crock with Storden, Minn., advertising and large wing. .................................$3,500+

Eight souvenir mini jugs commemorating outings, sports rivalries, businesses and communities, and one marked “Mercury,” each 2-1/2” to 3” tall. ...........................................................$250+ each (with a high range of $800 depending on markings)

Three brown-top mini jugs two with advertising and one a souvenir, each 4-1/4” tall, found unmarked and with raised “R.W.S.W. Co.” ....................$250+ each (with a high range of $800 depending on markings)

Two half-gallon shoulder jugs, one with a white top and one brown, late 19th and early 20th century, with advertising for the same liquor store in Lead, S.D., but identifying different owners, each 8-3/4” tall. White ...................................................$500-$600 Brown...................................................$600-$800

The Marquis of Rockingham ﬁrst established an earthenware pottery in the Yorkshire district of England around 1745, and it was occupied afterwards by various potters. The well-known mottled brown Rockingham glaze was introduced about 1788 by the Brameld Brothers and became immediately popular. It was during the 1820s that the production of true porcelain began at the factory, and it continued to be made until the ﬁrm closed in 1842. Since that time the so-called Rockingham glaze has been used by various potters in England and the United States, including some famous wares produced in Bennington, Vermont. Very similar glazes were also used by potteries in other areas of the United States including Ohio and Indiana, but only wares speciﬁcally attributed to Bennington should use that name. The following listings will include mainly wares featuring the dark brown mottled glaze produced at various sites here and abroad.

Foot warmer, wide ﬂattened halfround form w/two molded indentations on the top for feet, a small spout at the top end, overall mottled brown glaze, Americanmade, ca. 1860, underside crazing, small ﬂakes in the glaze, 7" w., 10" h. ..................... $230

Maria Longworth Nichols founded Rookwood Pottery in 1880. The name, she later reported, paid homage to the many crows (rooks) on her father’s estate and was also designed to remind customers of Wedgwood. Production began on Thanksgiving Day 1880 when the ﬁrst kiln was drawn. Rookwood’s earliest productions demonstrated a continued reliance on European precedents and the Japanese aesthetic. Although the ﬁrm offered a variety of wares (Dull Glaze, Cameo, and Limoges for example), it lacked a clearly deﬁned artistic identity. With the introduction of what became known as its “standard glaze” in 1884, Rookwood inaugurated a period in which the company won consistent recognition for its artistic merit and technical innovation. Rookwood’s ﬁrst decade ended on a high note when the company was awarded two gold medals: one at the Exhibition of American Art Industry in Philadelphia and another later in the year at the Exposition Universelle in Paris. Signiﬁcant, too, was Maria Longworth Nichols’ decision to transfer her interest in the company to William W. Taylor, who had been the ﬁrm’s manager since 1883. In May 1890, the board of a newly reorganized Rookwood Pottery Company purchased “the real estate, personal property, goodwill, patents, trademarks… now the sole property of William W. Taylor” for $40,000. Under Taylor’s leadership, Rookwood was transformed from a ﬂedgling startup to successful business that expanded throughout the following decades to meet rising demand. Throughout the 1890s, Rookwood continued to attract critical notice as it kept the tradition of innovation alive. Taylor rolled out three new glaze lines—Iris, Sea Green and Aerial Blue—from late 1894 into early 1895. At the Paris Exposition in 1900, Rookwood cemented its reputation by winning the Grand Prix, a feat largely due to the favorable reception of the new Iris glaze and its variants. Over the next several years, Rookwood’s record of achievement at domestic and international exhibitions remained unmatched. Throughout the 1910s, Rookwood continued in a similar vein and began to more thoroughly embrace the simpliﬁed aesthetic promoted by many Arts and Crafts ﬁgures. Production of the Iris line, which had been instrumental in the ﬁrm’s success at the Paris Exposition in 1900, ceased around 1912. Not only did the company abandon its older, fussier underglaze wares, but the newer lines the pottery introduced also trended toward simplicity. Unfortunately, the collapse of the stock market in October 1929 and ensuing economic depression dealt Rookwood a blow from which it did not recover. The Great Depression took a toll on the company and eventually led to bankruptcy in April 1941. Rookwood’s history might have ended there were it not for the purchase of the ﬁrm by a group of investors led by automobile dealer Walter E. Schott and his wife, Margaret. Production started once again. In the years that followed, Rookwood changed hands a number of times before being moved to Starkville, Mississippi, in 1960. It ﬁnally closed its doors there in 1967.

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ROOKWOOD MARKS

CERAMICS

Rookwood employed a number of marks on the bottom of its vessels that denoted everything from the shape number, to the size, date, and color of the body, to the type of glaze to be used.

Company Marks: 1880-1882 In this early period, a number of marks were used to identify the wares. 1. “ROOKWOOD” followed by the initials of the decorator, painted in gold. This is likely the earliest mark, and though the wares are not dated, it seems to have been discontinued by 1881-1882. 2. “ROOKWOOD / POTTERY. / [DATE] CIN. O.” In Marks of American Potters (1904), Edwin AtLee Barber states, “The most common marks prior to 1882 were the name of the pottery and the date of manufacture, which were painted or incised on the base of each piece by the decorator.” 3. “R. P. C. O. M. L. N.” These initials stand for “Rookwood Pottery, Cincinnati, Ohio, Maria Longworth Nichols,” and were either painted or incised on the base. 4. Kiln and crows stamp. Barber notes that in 1881 and 1882, the trademark designed by the artist Henry Farny was printed beneath the glaze. 5. Anchor stamp: Barber notes that this mark is “one of the rarest.” 6. Oval stamp. 7. Ribbon or banner stamp: According to Barber, “In 1882 a special mark was used on a trade piece… the letters were impressed in a raised ribbon. 8. Ribbon or banner stamp II: A simpler variation of the above stamp, recorded by Herbert Peck. 1883-1886 1. Stamped name and date. 2. Impressed kiln: Appears only in 1883. 1886-1960 Virtually all of the pieces feature the conjoined RP monogram. Pieces ﬁred in the anniversary kilns carry a special kiln-shaped mark with the number of the anniversary inside of it. 1955 A diamond-shaped mark that reads: “ROOKWOOD / 75th / ANNIVERSARY / POTTERY” was printed on wares. 1960-1967 Occasionally pieces are marked “ROOKWOOD POTTERY / STARKVILLE MISS”; from 1962 to 1967 a small “®” occasionally follows the monogram.

Date Marks Unlike many of their contemporaries, Rookwood seems very early on to have adopted a method of marking its pottery that was accurate and easy to understand. From 1882-1885, the company impressed the date, often with the company name, in block letters (see 1883-86, No. 1). Although the date traditionally given for the conjoined RP mark is June 23, 1886, this marks the ofﬁcial introduction of the monogram rather than the ﬁrst use.

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Rookwood Pottery

CERAMICS

Stanley Burt, in his record of the Rookwood at the Cincinnati Museum noted two pieces from 1883 (Nos. 2 and 3) that used the monogram. The monogram was likely designed by Alfred Brennan, since it ﬁrst appears on his work. From 1886 on, the date of the object was coded in the conjoined “RP” monogram. 1886: conjoined “RP” no additional ﬂame marks. 1887-1900: conjoined “RP” with a ﬂame added for each subsequent year. Thus, a monogram with seven ﬂames would represent 1893. 1900-1967: conjoined “RP” with fourteen ﬂames and a Roman numeral below the mark to indicate the year after 1900. Thus, a monogram with fourteen ﬂames and the letters “XXXVI” below it signiﬁes 1936.

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Clay-Type Marks From 1880 until around 1895, Rookwood used a number of different colored bodies for production and marked each color with a letter code. These letters were impressed and usually found grouped together with the shape number, sometimes following it, but more often below it. The letter “S” is a particularly vexing designation since the same initial was used for two other unrelated designations. As a result, it is particularly important to take into account the relative position of the impressed letter. R = Red Y = Yellow S = Sage G = Ginger W = White O = Olive P = From 1915 on Rookwood used an impressed “P” (often found perpendicular to the orientation of the other marks) to denote the soft porcelain body.

Size and Shape Marks Almost all Rookwood pieces have a shape code consisting of three or four numbers, followed by a size letter. “A” denotes the largest available size, “F” is the smallest. According to Herbert Peck, initial designs were given a “C” or “D” designation so that variations could be made. Not every shape model, however, features a variation in every size.

Glaze Marks In addition to marking the size, shape and year of the piece, Rookwood’s decorators also used a number of letters to designate the type of glaze to be used upon a piece. Generally speaking, these marks are either incised or impressed. “S” = Standard Glaze to be used. (Incised.) “L” = Decorators would often incise an “L” near their monogram to indicate that the light variation of the Standard Glaze was to be used. (Incised.) “SG” = Sea Green Glaze to be used. “Z” = from 1900-1904 designated any piece with a mat glaze. (Impressed.) “W” = Iris Glaze to be used. “V” = Vellum Glaze to be used; variations include “GV” for Green Vellum and “YV” for Yellow Vellum.

Other Marks “S” = If found away from the shape number, this generally indicates a piece that was specially thrown at the pottery in the presence of visitors. (Impressed.) “S” = If this precedes the shape number than it denotes a piece that was speciﬁcally

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Rookwood Pottery thrown and decorated from a sketch with a corresponding number. Because of the size and quality of pieces this letter has been found on, this probably signiﬁes a piece made speciﬁcally for an important exhibition. “X” = Rookwood used a wheel ground “x” to indicate items that were not of ﬁrst quality. There has been some suggestion that decorators and salespersons might have conspired to “x” certain pieces that they liked, since this designation would reduce the price. Since there are a number of items that appear to have been marked for no apparent reason, there may be some truth to this idea. Unfortunately, as this idea has gained credence, many pieces with obvious ﬂaws have been listed as “marked x for no apparent reason,” and collectors should be cautious. Generally, the mark reduces the value and appeal of the piece. Peck describes a variation of the “x” that resembles an asterisk as indicating a piece that could be given away to employees. “T” = An impressed T that precedes a shape number indicates a trial piece. ± V = These shapes (crescents, diamonds, and triangles) are used to indicate a glaze trial. X “K1” and “K3” = c. 1922, used for matching teacups and saucers “SC” = Cream and Sugar sets, c. 1946-50 “2800” = Impressed on ship pattern tableware For more information on Rookwood, see Warman’s Rookwood Pottery Identiﬁcation and Price Guide by Denise Rago and Jonathan Clancy.

SOME LINES OF NOTE Aerial Blue: Commercially, this line was among the least successful. As a result, there are a limited number of pieces, and this scarcity has increased their values relative to other wares. Black Iris: This line is among the most sought after by collectors, commanding signiﬁcantly more than examples of similar size and design in virtually any other glaze. In fact, the current auction record for Rookwood— over $350,000—was set in 2004 for a Black Iris vase decorated by Kitaro Shirayamadani in 1900. Iris: Uncrazed examples are exceptionally rare, with large pieces featuring conventional designs commanding the highest prices. Smaller, naturalistically painted examples, though still desirable, are gradually becoming more affordable for the less advanced collector. Production Ware: This commercial and massproduced artware is signiﬁcantly less expensive than pieces in most other lines. Standard Glaze: These wares peaked in the 1970s-1980s, and the market has remained thin in recent years, but regardless of the state of the market, examples of superlative quality, including those with silver overlay, have found their places in the ﬁnest of collections. Wax Mat: This is among the most affordable Black Iris Glaze tankard, painted and carved of the hand-decorated lines. by Kitaro Shirayamadani.

Rare pitcher decorated by Laura Fry with incised fronds covered in indigo and dark green glaze, 1882, stamped ROOKWOOD 1882, incised Cincinnati Pottery Club, LAF, 7” x 5” .................... $1,500-$2,500. Laura Fry was a member of the Women’s Pottery Club of Cincinnati, a china-painting group, along with Clara Chipman Newton and Mary Louise McLaughlin, before joining the ﬁrst generation of decorators at Rookwood. During her 10-year stay at the pottery, she developed and patented the atomizer for glazing purposes. From Rookwood, she moved on to the Lonhuda Pottery in Steubenville, Ohio.

Rare and important red clay “Indian” portrait charger by H.F. Farny, 1881, with a Native American chief in headdress painted in black surrounded by geometric and abstract designs, 11” d..........$12,500-$17,500. Henry Francois Farny (1847-1916), a well-known Cincinnati artist, designed the ﬁrst trademark for Rookwood and was the ﬁrst to suggest “Indian designs” for its pottery. The charger is recorded in the Shape Record Book as: “189. Red clay plaque. Pressed. Decorated by H. Farny. Could not be ﬁred hard enough to set the colors in manner desired by artist without destroying effect,” (The Book of Rookwood Pottery by Herbert Peck, 1968, p. 15).

Iris Glaze vase painted by Carl Schmidt, 1902, with a blue and white water bird standing in tall grasses near a stream in tones of lavender, brown and green, 11” x 5-1/4”. .............. $8,000-$12,000

Iris Glaze scenic vase by Kitaro Shirayamadani, 1907, painted with a panoramic scene of tall trees and distant mountains around a lake in celadon, gray and pink, 9-1/4” x 5”........$18,000-$24,000

◆ To celebrate its 35th anniversary in 1915, Rookwood introduced an entirely new “soft porcelain” body and developed a number of new glazes to promote this new body. The company also continued its longevity by responding to changing tastes and embracing a more Art Deco/Moderne sensibility.

CERAMICS Early Production chamberstick in the form of a poppy in mustard and brown, 1903, ﬂame mark, 8-1/4”. ..................................... $550-$750 Production Z-line cabinet vase, c. 1900, incised with key motif at rim and covered in a mottled mauve matte glaze, ﬂame mark, 3-1/2” x 2-3/4”. .........$300-$400

Two Production porcelain pieces covered in celadon glaze, an ovoid vase with cattails and a lotus bowl, 1953-4, ﬂame marks, 5” and 7-1/4” d. .................................................. $100-$200 each

Five Production vessels in glossy glazes: bulbous vase with water lilies in mauve, vase molded with Southwestern scene in ivory, two cream pitchers in yellow and blue, and ribbed covered dish in celadon, all marked, tallest: 6-1/4”; pitchers ............................................... $50-$100 each Vases ........................................................................$100-$250 each

Large Production ﬁgure of a rook designed by William MacDonald, 1944, in apple green high glaze, ﬂame mark, 10” x 9”. .$500-$700

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Roseville Pottery

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■ Roseville Pottery __________________________________

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CERAMICS

Roseville is one of the most widely recognizable of potteries across the United States. Having been sold in ﬂower shops and drug stores around the country, its art and production wares became a staple in American homes through the time Roseville closed in the 1950s. The Roseville Pottery Company, located in Roseville, Ohio, was incorporated on Jan. 4, 1892, with George F. Young as general manager. The company had been producing stoneware since 1890, when it purchased the J. B. Owens Pottery, also of Roseville. The popularity of Roseville Pottery’s original lines of stoneware continued to grow. The company acquired new plants in 1892 and 1898, and production started to shift to Zanesville, just a few miles away. By about 1910, all of the work was centered in Zanesville, but the company name was unchanged. Young hired Ross C. Purdy as artistic designer in 1900, and Purdy created Rozane—a contraction of the words “Roseville” and “Zanesville.” The ﬁrst Roseville artwork pieces were marked either Rozane or RPCO, both impressed or ink-stamped on the bottom. In 1902, a line was developed called Azurean. Some pieces were marked Azurean, but often RPCO. In 1904 at the St. Louis Exposition, Roseville’s Rozane Mongol, a high-gloss oxblood red line, captured ﬁrst prize, gaining recognition for the ﬁrm and its creator, John Herold. Many Roseville lines were a response to the innovations of Weller Pottery, and in 1904 Frederick Rhead was hired away from Weller as artistic director. He created the Olympic and Della Robbia lines for Roseville. His brother Harry took over as artistic director in 1908, and in 1915 he introduced the popular Donatello line. By 1908, all handcrafting ended except for Rozane Royal. Roseville was the ﬁrst pottery in Ohio to install a tunnel kiln, which increased its production capacity. Frank Ferrell, who was a top decorator at the Weller Pottery by 1904, was Roseville’s artistic director from 1917 until 1954. This Zanesville native created many of the most popular lines, including Pine Cone, which had scores of individual pieces. Many collectors believe Roseville’s circa 1925 glazes were the best of any Zanesville pottery. George Krause, who had become Roseville’s technical supervisor, responsible for glaze, in 1915, remained with Roseville until the 1950s. Company sales declined after World War II, especially in the early 1950s when cheap Japanese imports began to replace American wares, and a simpler, more modern style made many of Roseville’s elaborate ﬂoral designs seem old-fashioned. In the late 1940s, Roseville began to issue lines with glossy glazes. Roseville tried to offset its ﬂagging artware sales by launching a dinnerware line—Raymor—in 1953. The line was a commercial failure. Roseville issued its last new designs in 1953. On Nov. 29, 1954, the facilities of Roseville were sold to the Mosaic Tile Company. For more information on Roseville, see Warman’s Roseville Pottery, 2nd edition, by Denise Rago.

There is no consistency to Roseville bottom marks. Even within a single popular pattern like Pine Cone, the marks vary. Several shape numbering systems were implemented during the company’s almost 70-year history, with some denoting a vessel style and some applied to separate lines. Though many pieces are unmarked, from 1900 until the late teens or early 1920s, Roseville used a variety of marks including “RPCo,” “Roseville Pottery Company,” and the word “Rozane,” the last often with a line name, i.e., “Egypto.” The underglaze ink script “Rv” mark was used on lines introduced from the mid-to-late teens through the mid1920s. Around 1926 or 1927, Roseville began to use a small, triangular black paper label on lines such as Futura and Imperial II. Silver or gold foil labels began to appear around 1930, continuing for several years on lines such as Blackberry and Tourmaline, and on some early Pine Cone. From 1932 to 1937, an impressed script mark was added to the molds used on new lines, and around 1937 the raised script mark was added to the molds of new lines. The relief mark includes “U.S.A.” All of the following bottom mark images appear courtesy of Adamstown Antique Gallery, Adamstown, Pennsylvania.

■ R.S. Prussia _____________________________________ Bob Welter has collected R.S. Prussia for 12 years, but his admiration for the porcelain china made by the Schlegelmilch family before 1917 dates back to his formative years, when he dished potato salad from a beautifully decorated bowl given to his grandparents as a wedding present in 1907. In 2010, he discovered he had purchased a rare R.S. Prussia picture frame at a Woody Auction in August 2009. Welter said he bought the unmarked 8-inch by 10-inch frame thinking it was French, probably Limoges, even though Woody had listed it in his catalog as possibly being R.S. Prussia. “I just thought it was so pretty that it would be something my wife would enjoy,” said Welter, who asked auctioneer Jason Woody to hold it until they met up at the national convention in July. “As soon as I saw it I said, ‘Ooh!’ and ran to our author in residence, A photo of the frame Lee Marple, and said, ‘Is it possible?’ in the auction catalog He looked at it and said, ‘Oh, yes. had Bob Welter thinking it was Limoges, but That’s R.S. Prussia.’ I thought, ‘A a hands-on inspection home run!’” said Welter. conﬁrmed it was R.S. Auctioneer Woody said he thought Prussia. .............$225 the unmarked frame was R.S. Prussia right from the start. “R.S. Prussia collectors can tell by the style, the mold shape, the colors and decoration. Persons familiar with R.S. Prussia can identify it,” said Woody. Welter said that he thought Marple recognized the transfer decoration on the frame. Welter also suggested the frame was left unmarked because it was intended for the German market. “Everybody knew who they were; they didn’t need to mark it,” said Welter. Making the buy all the sweeter, the ﬁnal auction price ended at only $225. “I always ask the auctioneers what they think something will go for in their market. Woody said he thought it would go for $400 to $600. I bid (absentee) $750 and got it for $225,” said Welter, adding, “It all depends on who’s there and what they think.” Tom Hoepf A selection of various R.S. Prussia marks.

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Courtesy Turkey Creek Auctions of Citra, Fla. and Woody Auction

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Icicle mold chocolate pot with six matching cups and saucers, all decorated in a swan scene.......... $3,750

Group of four porcelain serving pieces, including an R.S. Prussia hand-painted, two-handled pastry tray in “Poppies” decor, 1904-1908; a smaller R.S. Prussia fruit bowl, also in “Poppies” decor; a German polychromed and parcel-gilt porcelain berry bowl in the R.S. Prussia style; and an Altrohlau richly decorated porcelain berry bowl in “Peonies” decor, 1884-1909; the R. S. Prussia and Altrohlau examples all signed; the largest diameter is 11-3/8 inches. ...................................................................................................... $70

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Schoop (Hedi) Art Creations

CERAMICS

■ Schoop (Hedi) Art Creations ________________________ By far one of the most talented artists working in California in the 1940s and 1950s was Hedi Schoop. She designed and modeled almost every piece in her line. She began her business in 1940 in Hollywood, California. Barker Brothers department store in Los Angeles discovered Schoop’s work which encouraged her to open the small Hollywood studio. Shortly after a move to larger quarters, ﬁnanced by her mother, Hedi began calling her business Hedi Schoop Art Creations. It would remain under that name throughout Schoop’s career which was ended when a ﬁre destroyed the operation in 1958. At that time, Hedi decided to free-lance for other companies (see: Cleminson Clay). Probably one of the most imitated artists of the time, other people began businesses using Schoop’s designs and techniques. Hedi Schoop decided to sue in court and the results were settled in Schoop’s favor. Among those imitators were Kim Ward, and Ynez and Yona. Hedi Schoop saw forms differently than other artists and, therefore, was able to create with ease and in different media. While Hedi made shapely women with skirts that ﬂared out to create bowls as well as women with arms over their heads holding planters, she also produced charming bulky looking women with thick arms and legs. When TV lamps became popular, Hedi was able to easily add her talents to creating those designs with roosters, tragedy and comedy joined together in an Art Deco fashion, and elegant women in various poses. A variety of marks were used by Schoop including her signature (incised or stamped) which also, on occasion, shows “Hollywood, Cal.” or “California,” and there was also a sticker used but such pieces are hard to ﬁnd. Hedi Schoop left Germany in 1930, then immigrated to Hollywood, California, in 1933. She began producing ceramics of her own designs in 1940. Schoop turned out as many as 30,000 pieces per year once her production was running smoothly. A ﬁre destroyed the pottery in 1958, and Hedi did freelance work for several California companies. She retired from working full-time in the early 1960s, but her talents would not let her quit completely. She died in 1996 and had painted, although sparingly, until then. There were a variety of marks ranging from the stamped or incised Schoop signature to the hard-to-ﬁnd Hedi Schoop sticker. The words “Hollywood, Cal.” or “California” can also be found in conjunction with the Hedi Schoop name. You can ﬁnd items with a production number, artists’ names or initials. Schoop was imitated by many artists, especially some decorators who opened businesses of their own after working with Schoop. Mac and Yona Lippen owned Yona Ceramics, and Katherine Schueftan owned Kim Ward Studio. They used many of Schoop’s designs and today have their own following among collectors. There were others, but Schueftan lost a lawsuit Hedi had brought against her in 1942 for design infringements. It is important to buy pieces marked “Hedi Schoop” or buy from a reputable dealer if you want to be sure you have the real thing. Considering the number of products created, it would be easy to assume that Schoop pieces are plentiful. This would be an erroneous assumption. Collectors will indeed be fortunate to ﬁnd any Schoop ﬁgurines for less than $100, Ashtray, in the shape of a butterﬂy w/spread wings, yellow w/ and to amass many of her products gold trim & “eyes” on wings, inkstamp overglaze, 5 1/2" w. takes dedication and determination. ................................................................................. $66

This ceramic ware takes its name from the “spattered” decoration, in various colors, generally used to trim pieces handpainted with rustic center designs of ﬂowers, birds, houses, etc. Popular in the early 19th century, most was imported from England. Related wares, called “stick spatter,” had freehand designs applied with pieces of cut sponge attached to sticks, hence the name. Examples date from the 19th and early 20th century and were produced in England, Europe and America. Some early spatter-decorated wares were marked by the manufacturers, but not many. Twentieth century reproductions are also sometimes marked, including those produced by Boleslaw Cybis. Teapot, cov., Thistle patt., a ﬂared base tapering to a wide bulbous ovoid body tapering to a cylindrical neck w/ﬂat rim, serpentine spout & C-form handle, low domed cover w/button ﬁnial, bright yellow spatter ground centered by a large red & green thistle design, end of spout damaged, English-made, ca. 1830, 7" h. ........ $4,140

■ Spongeware _____________________________________ Spongeware’s designs were spattered, sponged or daubed on in colors, sometimes with a piece of cloth. Blue on white was the most common type, but mottled tans, browns and greens on yellowware were also popular. Spongeware generally has an overall pattern with a coarser look than Spatterware, to which it is loosely related. These wares were extensively produced in England and America well into the 20th century.

■ Stoneware ______________________________________ Stoneware is essentially a vitreous pottery, impervious to water even in its unglazed state, that has been produced by potteries all over the world for centuries. Utilitarian wares such as crocks, jugs, churns and the like were the most common productions in the numerous potteries that sprang into existence in the United States during the 19th century. These items were often enhanced by the application of a cobalt blue oxide decoration. In addition to the coarse, primarily salt-glazed stonewares, there are other categories of stoneware known by such special names as basalt, jasper and others.

■ Wedgwood ______________________________________ Reference here is to the famous pottery established by Josiah Wedgwood in 1759 in England. Numerous types of wares have been produced through the years to the present.

■ Weller Pottery ____________________________________ Weller Pottery was made from 1872 to 1945 at a pottery established originally by Samuel A. Weller at Fultonham, Ohio and moved in 1882 to Zanesville, Ohio. Mr. Weller’s famous pottery slugged it out with several other important Zanesville potteries for decades. Cross-town rivals such as Roseville, Owens, La Moro, and McCoy were all serious ﬁsh in a fairly small and well-stocked lake. While Mr. Weller occasionally landed some solid body punches with many of his better art lines, the prevailing thought was that his later production ware just wasn’t up to snuff. Samuel Weller was a notorious copier and, it is said, a bit of a scallywag. He paid designers such as William Long to bring their famous discoveries to Zanesville. He then attempted to steal their secrets, and, when successful, renaming them and making them his own. After World War I, when the cost of materials became less expensive than the cost of labor, many companies, including the famous Rookwood Pottery, increased their output of less expensive production ware. Weller Pottery followed along in the trend of production ware by introducing scores of interesting and unique lines, the likes of which have never been created anywhere else, before or since. In addition to a number of noteworthy production lines, Weller continued in the creation of hand-painted ware long after Roseville abandoned them. Some of the more interesting Hudson pieces, for example, are post-World War I pieces. Even later lines, such as Bonito, were hand painted and often signed by important artists such as Hester Pillsbury. The closer you look at Weller’s output after 1920, the more obvious the fact that it was the only Zanesville company still producing both quality art ware and quality production ware. For more information on Weller pottery, see Warman’s Weller Pottery Identiﬁcation and Price Guide by Denise Rago and David Rago.

An Etna tapering vase with cherries, and a Floretta mug with a pink ﬂower, both similar in coloring and decoration, but the Floretta has a hint of brown in the shaded background; both bear impressed marks; the vase is 9-1/2” and the mug is 5-1/4”. ...... $50-$100 each

This section covers items of a collectible nature related to the Civil War period of the United States of America. The war began April 12, 1861, at Fort Sumter, the Confederates surrendered at Appomattox Courthouse on April 9, 1865, and all ofﬁcial ﬁghting ceased on May 26, 1865. All war is tragic and is full of tragedies; however, the American Civil War was especially devastating in the loss of human lives and capital. It nearly destroyed our nation while paving the way for today’s society. Between the beginning and end of the Civil War, the way wars were fought and the tools soldiers used changed irrevocably. When troops ﬁrst formed battle lines to face each other near Bull Run Creek in Virginia on June 21, 1861, they were dressed in a widely disparate assemblage of uniforms. They carried state-issued, federally supplied, or brought-fromhome weapons, some of which dated back to the Revolutionary War, and marched to the orders and rhythms of tactics that had served land forces for at least the previous 100 years. Four short years later, the generals and soldiers had made major leaps in the art of warfare on the North American continent, having developed the repeating riﬂe, the movement of siege artillery by rail, the extensive employment of trenches and ﬁeld fortiﬁcations, the use ironclad ships for naval combat, the widespread use of portable telegraph units on the battleﬁeld, the draft, the organized use of African-American troops in combat, and even the levying of an income tax to ﬁnance the war. For some Civil War enthusiasts, collecting war relics is the best way to understand the heritage and role of the thousands who served. Collecting mementos and artifacts from the Civil War is not a new hobby. Even before the war ended, people were gathering remembrances. As with any period of warfare, the ﬁrst collectors were the participants themselves. Soldiers sent home scraps of ﬂags, collected minie-ball shattered logs, purchased privately marketed unit insignias, or obtained a musket or carbine for their own use after the war. Civilians wrote to prominent ofﬁcers asking for autographs, exchanged photographs (“carte de visites”) with soldiers, or kept scrapbooks of items that represented the progress of the conﬂict. After the war, the passion for owning a piece of it did not subside. Early collectors gathered representative weapons, collected battleﬁeld-found relics, and created personal or public memorials to the veterans. Simultaneously, surplus sales emerged on a grand scale. Dealers made hundreds of Civil War relics available to the general public. Following World War II, a new wave of collecting emerged. Reveling in the victories in Japan and in Europe, Americans were charged with a renewed sense of patriotism and heritage. At the same time, newspapers started to track the deaths of the last few veterans of the Civil War. As the nation paid tribute to the few survivors of the Rebellion, it also acknowledged that the 100-year anniversary of the war was fast upon them. In an effort to capture a sense of the heritage, Civil War buffs began collecting in earnest. Excavated, Leech & Rigdon, Memphis, Tennessee, C.S.-molded ofﬁcer’s cavalry spur. ..... $1,850-$2,000 Middle Tennessee Relics

Visit www.AntiqueTrader.com

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Civil War Collectibles During the Civil War Centennial in the 1960s, thousands of outstanding relics emerged from closets, attics, and chests, while collectors eagerly bought and sold ﬁrearms, swords, and uniforms. It was during this time that metal detectors ﬁrst played a large role in Civil War collecting, as hundreds donned headphones and swept battleﬁelds and campsites, uncovering thousands of spent bullets, buttons, belt plates, and artillery projectiles. By the 1970s, as this ﬁrst wave of prominent and easily recognized collectibles disappeared into collections, Civil War buffs discovered carte-de-visites, tintypes, and ambrotypes. Accoutrements reached prices that far outstretched what surplus dealers could have only hoped for just a few years prior. The demand for soldiers’ letters and diaries prompted people to open boxes and drawers to rediscover long-forgotten manuscript records of battles and campaigns. By the end of the twentieth century, collectors who had once provided good homes for the objects began to disperse their collections, and Civil War relics reemerged on the market. It is this era of Civil War relic reemergence in which we currently live. The fabulous collections assembled in the late 1940s and early 1950s are reappearing. It has become commonplace to have major sales of Civil War artifacts by a few major auction houses, in addition to the private trading, local auctions, and Internet sales of these items. These auction houses handle the majority of signiﬁcant Civil War items coming to the marketplace. The majority of these valuable items are in repositories of museums, universities, and colleges, but many items were also traded between private citizens. Items that are being released by museums and from private collections make up the base of items currently being traded and sold to collectors of Civil War material culture. In addition, many family collections amassed over the years have been recently coming to the marketplace as new generations have decided to liquidate some of them. Civil War items are now acquired by collectors in the same fashion as any material cultural item. Individuals interested in antiques and collectibles ﬁnd items at farm auction sales, yard sales, estate sales, specialized auctions, private collectors trading or selling items, and the Internet and online auction sales. Provenance is important in Civil War collectibles—maybe even more important than with most other collectibles. Also, many Civil War items have welldocumented provenance as they come from family collections or their authenticity has been previously documented by auction houses, museums, or other experts in the ﬁeld. For more information on Civil War memorabilia, see Warman’s Privately purchased McClellan-style saddle attributed to Confederate General A.R. Lawton. The entire seat, pommel, and cantle are Civil War Collectibles Identiﬁcacovered in black bridal leather. The pommel has a stamped brass tion and Price Guide, 3rd edishield reading “11 inch seat.” ............................... $7,500-$9,000 James D. Julia Auctioneers tion, by Russell L. Lewis.

Artillery fuse pouch and belt. Fuse box brightly marked on outside ﬂap “U.S. WATERVLIET ARSENAL.” This is an unusual box with brown leather surfaces. Box and belt are complete with very good surfaces. ....................................................... $862 James D. Julia Auctioneers

The square-shaped front and lead-ﬁnial are two characteristics often associated with Confederate cap boxes.............................................. $1,250-$1,700

Extremely rare Bartholomae patent ﬁlter canteen, cover and partial strap. Invented and patented by Charles Bartholomae, the tin canteen is about 6” h. x 6” w. and is kidney-shaped in cross section with a wide, funnel-like spout with an applied brass label reading “PATENTED JULY 3rd 1861” and two other lead spouts (one retaining its lead cap and chain). In his patent, Bartholomae described his invention “as a canteen which may be worn with greater facility than those of usual construction, more readily ﬁlled and more convenient to drink from, and one supplied with an efﬁcient ﬁltering device, which may be used whenever necessity requires”. This example retains its original brown wool cover and part of its narrow brown bridle leather strap. These canteens, mostly private purchase, saw actual use in the ﬁeld, which accounts for their rarity today. Good condition. ................................................................. $3,737

The square-shaped front and lead-ﬁnial are two characteristics often associated with Confederate cap boxes.............................................. $1,250-$1,700 Middle Tennessee Relics

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Artillery & Accessories

CIVIL WAR COLLECTIBLES

■ Artillery and Accessories ___________________________

A limber was a two-wheeled carriage used to transport a cannon and its carriage. This U.S. ﬁeld artillery limber retains 50 percent of its original paint. ..............................................................................$6,000-$10,500 James D. Julia Auctioneers

U.S. brass gunner’s calipers used by an artilleryman to check the diameter of cannon balls. Marked, “INCHES,” “GUNS” and “SHOT.”..... $3,200-$3,500 James D. Julia Auctioneers

British 6.4” Armstrong bolt, non-excavated. This shell was imported by the Confederates. Written in old lettering on the shell is “CONFEDERATE RIFLE PROJECTILE, NORFOLK NAVY YARD, C.S.A.” On the opposite side is “CSA 100.” ...................................... $6,800-$7,350 James D. Julia Auctioneers

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Buttons

CIVIL WAR COLLECTIBLES

■ Buttons _________________________________________

General Service, Cavalry, cuff-size button. .......... $35

Solid cast “CSA” coat-sized button with ﬁne patina. This is a difﬁcult button to ﬁnd in non-dug condition. .................................................. $800-$1,000

■ Ephemera _______________________________________ Lincoln signature. Authentic signature of “A. LINCOLN MARCH 4, 1864” on a sheet of plain yellow stationery measuring approximately 7” by 9” folded to the approximate size of an envelope. The autograph is accompanied by a copy print of a photograph of Lincoln originally taken by C.G. German of Springﬁeld, Illinois. Near excellent condition. .............$2,012 James D. Julia Auctioneers

Two autographs by Confederate General J.E.B. Stuart. An envelope addressed to Mrs. J.E.B. Stuart in J.E.B. Stuart’s hand. There is an added, clipped autograph from letter placed on envelope to show that the other signature was an in situ autograph. Hinged above the address line is this clip. Envelope has 5¢ Jefferson Davis stamp from 1862 and an imprint, “Headquarters Cavalry Brigade / Army of the Potomac.” Attached, clipped autograph has been closely trimmed, removing portion of the “S” in Stuart. Hinge has stained paper. Envelope is soiled with numerous small tears and reductions. Stamp is partially missing. .................................. $2,530 James D. Julia Auctioneers

Thirty-four-star (1861-1863), U.S. national color of famous New York Battery that fought at Gettysburg. Tiffany & Co., all silk, U.S. national color of the 4th Independent Battery New York Volunteer Artillery. It is likely that this ﬂag served with the unit during its 1862 and 1863 campaigns. For its age, as a silk ﬂag, this national color is in remarkably good condition, with only minor damage to the ﬂy end due to service wear and a cracking separation starting where the ﬂag was once folded in half. The ﬂag has been professionally framed, and only minor water staining is noticeable in the upper pair and central stripes. ........................................... $40,250 James D. Julia Auctioneers

The ﬁrst American ﬂag captured. “This ﬂag was hauled down by secessionists on January 12, 1861, fully three months before the ﬁring on Fort Sumter, and so far as known was the ﬁrst United States ﬂag so desecrated in the Great Conﬂict”–so reads the provenance from the Soldier and Sailors Memorial, where this ﬂag has been since 1912 just being de-accessed in 2007. Much of the stripes are worn and missing; however, the canton is fairly complete with all 33 stars. The hoist is sound. Markings on hoist are very good. Attached pennant is intact with one approx. 2” x 2” hole and several large stains. ...................................................................$33,350 James D. Julia Auctioneers

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Flags and Musical Instruments

Wisconsin Veterans Museum

CIVIL WAR COLLECTIBLES

Carrying a regiment’s “National colors” was a mark of distinction. The ﬂag served as a rallying point as well as badge of honor for each unit. Each Union infantry regiment carried a National color. In many cases, a regiment’s battle honors were recorded on the ﬂag’s stripes. ...................... $5,000

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Confederate 1862 contract battle ﬂag of the 4th Tennessee Infantry, made by New Orleans contractor Henry Cassidy and delivered to the Confederate Army of the Mississippi (afterward the Confederate Army of Tennessee). ......................................................................................................................... $115,000-$125,000 James D. Julia Auctioneers

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Flags and Musical Instruments

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Confederate battle ﬂag with alternate coloration of the St. Andrew’s cross and stars (orange/red stars on white cross), measuring 28-1/2” high by 37”. Although not identiﬁed to a speciﬁc military unit, oral tradition associates it with South Carolina. ......................................................................................$45,000-$57,500

Above left: Captured Confederate drum. Standard military drum used by both North and South; 16” x 14” with about 2” high red-painted hoops, a natural wood body with a geometric design, a bone vent hole plug, and original tied-on carrying strap. The drum came from a direct descendant of the soldier, who captured this drum and carried it home as a souvenir. There is a 15-line ink inscription on the top head that is no doubt contemporary to the capture of the drum. Because of its bulk, a drum would have been a difﬁcult souvenir for a soldier to obtain, unless he were stationed on a ship such as soldiers ﬁghting at Port Royal, at Hilton Head Island, South Carolina, where other large souvenirs have been known to have been collected. The inscription though worn and weathered, is still mostly discernible as follows: “This drum was found 3 miles from Fort Walker, Hilton Head, S.C. on the 8th of November 1861, by WM. Car.... the Steward of Steamship Manion. The drum was left in that spot by one of the drummers of the Berry Infantry of ... 7th day of ... Georgia on the named month..... after their defeat in the battle for Port Royal. The drummer ... in the hand during his... was on the drum...SECESSION DRUM FROM PORT ROYAL, S.C.”................................................................................................ $20,700 James D. Julia Auctioneers

Cavalry items seem to be a favorite area among collectors. This pair of sergeant chevrons made of yellow worsted tape sewn to a wool backing sold for..................$3,737.50 James D. Julia Auctioneers

This bullion-embroidered palmetto tree device applied to black velvet measuring 3” x 2” is quite similar to an embroidered Model 1858 hat device. It was found with reunion memorabilia of a South Carolina Confederate veteran. .........................$700-$800

An infantry ofﬁcer was entitled to wear a maroon silk sash under his sword belt. ........................ $500-$900 Tommy Haas/Paul Goodwin

Confederate Southern Cross of Honor was made by Charles Crankshaw of Atlanta in the late 19th century. The United Daughters of the Confederacy gave these medals to any Confederate soldier who was honorably discharged or surrendered with his army or died during the Civil War. These medals were not issued named, and it was up to the soldier to have a jeweler inscribe or scratch his name himself into the name bar. “R. W. Jenkins” inscribed his name quite nicely. R. W. Jenkins appears on the rolls of the 6th and 8th South Carolina Infantry as a sergeant and later lieutenant. Medal is in “as found” condition with pleasant patina on all surfaces. .................................................................................. $805 James D. Julia Auctioneers

A Manual of Military Surgery, by Samuel Moore, M.D., Richmond: Ayres & Wade, 1863. With 30 plates and 174 ﬁgures, this was the ﬁrst of only two illustrated military surgical manuals to have been compiled and printed in the Confederacy. During the Civil War, Dr. Moore was the surgeon general of the Confederate States Army Medical Department. ................ $4,500

Prosthetic leg originally worn by soldier injured Feb. 7, 1865 at Hatcher’s Run. The soldier had his right leg amputated below the knee at a hospital in Baltimore, Maryland. .............$1,150 Wisconsin Veterans Museum

A Civil War military issue set by Kolbe, Philadelphia, marked “U.S.A., Hosp. Dept.” for amputation and major bone surgery. .................................... $15,500 Dr. Michael Echols

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Medical Instruments and Equipment

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An outstanding, like-new, three-tier, U.S.A. Hospital Department, major surgical set by Hernstein, New York, 1865. The brass plate is marked for the U.S.A. Hosp. Dept., the large instruments are marked, and there is not one item missing from this extensive Civil War capital surgery set. Most likely it was made at the end of the war, never saw action, and is still in mint condition. ............................................................................. $32,500 Dr. Michael Echols

An unusual surgical-dental military set by Wade & Ford, New York, 1861-65. The mahogany case has bilateral military-style sliding latches and contains both dental and surgical instruments. The suspicion is this set was intended for use on naval vessels, as the owner was in the U.S. Navy during the Civil War, but that is not for sure as there is no engraved brass plate on the top of the case. The lid of the case is reinforced with multiple brass screws, which is typical military construction. ....................................................................... $14,000 Dr. Michael Echols

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Personal Items

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■ Personal Items ___________________________________

Tommy Haas/Paul Goodwin

Skinner, Inc.

Blue-painted trunk that belonged to Charles H. Beardsley, 5th New York Artillery. The interior is lined with early hand-colored map of New York and New Jersey. ..................................................$250-$500

CIVIL WAR COLLECTIBLES

Soldiers spent far more time in camp passing time than they did marching or ﬁghting. A variety of board games can be a ﬁne representation of one of the ways soldiers passed their hours. This checkerboard belonged to George Stinchﬁeld, a member of Company G, 12th Maine Volunteer Infantry. ................... $750

Union cards, Standard, American Card Company, 1862, maker’s mark on front card, TS inside box, front card also inscribed with “entered according to act of Congress in the year 1862 by Benj. W. Hitchcock in the Clerk’s Ofﬁce for the District Court of the United States for the Southern District of New York”, four suits comprised of eagles, shields, stars and ﬂags, court cards comprised of major for jack, goddess of liberty for queen, and colonel for king, original box with elaborate illustration on front and advertisement for ﬁrst “Genuine American Cards” on back, 52 complete, near mint condition. Hargrave p. 343, Encyclopedia of American Playing Cards W5. ................................................................. $1,293

Patent checkerboard and writing case. H.C. Small of East Lemington, Maine, patented this wooden roll-up checkerboard/writing desk, January 14, 1862, and is so marked. A group of old wooden checkers in a box appears to be similar vintage but did not come with this checkerboard. One small chip on checkerboard, scattered scratches, some loss of red paint. Tarred linen backing is very good. One small 1” x 1/4” area is missing. Copies of original patent drawings are included. ...................................................... $1,725 James D. Julia Auctioneers

Bells in sight musical box by Bremond with American Civil War Tune, No. 24245, playing “Stonewall Jackson, La Fille du Regiment” and six other airs, Gamme No. 518, accompanied by nine optional engine-turned bells with ﬁnial strikers, with zither attachment, ﬂat-topped winding lever and tune-sheet, in burl walnut veneered case with tulipwood banding and retailer’s transfer of “Alfred Hays, Manufacturer & Importer of Musical Instruments, 4 Royal Exchange Buildings and 82 Cornhill,” 23” wide, cylinder 13”. The second track is named after the Confederate general of the American Civil War, Thomas Jonathan “Stonewall” Jackson (1824-1863). Its inclusion on a musical box retailed by an English ﬁrm, whose program also includes French, German, and Scottish tunes, is unusual, suggesting a special order from an original owner with broad musical tastes. Movement has been recently cleaned and overhauled and plays well. Case has old ﬁnish with an attractive mellow patina. Inner glass replaced. ...........................$4,444 Skinner, Inc.

Half-plate ambrotype of seven West Point cadets. (General) Ranald Slidell Mackenzie is shown second from the right in the front row. He was born in 1840, graduated at the top of his class at West Point in 1862. He was wounded at Second Manassas, Petersburg, and Cedar Creek. He was made brigadier general after Cedar Creek. Ulysses S. Grant called him the most promising young ofﬁcer in the Army. During the Indian Wars he was wounded four more times. By the age of 42, his health was so poor he retired. He died in 1889. This is a wonderful ambrotype in excellent condition with good contrast and content........$1,265 James D. Julia Auctioneers

A Gettysburg resident, 69 year-old John L. Burns, gained instant fame by picking up “his ﬂintlock and powder horn” and becoming the only documented civilian to join the battle. After the war, Burns lived off the proceeds of his fame. Though relatively common, signed carte de visites of the citizen soldier are still very desirable. ..................................................$1,000-$1,200

General William Tecumseh Sherman tintype, 3” x 3-3/4”. Bust proﬁle of a seated, bearded Sherman in his uniform in a gold foil frame and mounted in a pressed cardboard, hinged case. Generally very good to excellent condition, with an excellent, strong image of Sherman. Case is separated at the hinge and shows wear. ............................ $2,012

Outdoor sixth-plate image showing a 6” ordnance riﬂe with a young cannoneer leaning casually on the barrel. .......................................................... $2,450-$2,700

James D. Julia Auctioneers

Cowan’s Auctions, Inc.

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Photographs and Paintings

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CIVIL WAR COLLECTIBLES

The clarity, tinting, and warlike pose of this cavalry trooper with his saber drawn conﬁrm the value of this quarter-plate tintype. .................................. $1,200 S.E.L.L. Antiques/Paul Goodwin

Military portrait / Lincoln-signed Congressional resolution to Commander John L. Worden of the U.S.S. Monitor. Portrait is oil on board and is a copy of an identical portrait hanging in the U.S. Naval Academy Museum in Annapolis, Maryland, by Philipp Albert Gliemann (1822-1871). This portrait and genre painter was born in Germany in 1822 and died in 1871. The portrait measures 19-3/4” x 24” (slightly smaller than the signed portrait in the Naval Academy Museum), and is unsigned, but obviously from the hand of the same artist. He is depicted in U.S. Navy, regulation uniform of dark blue with brightly highlighted, gold, full dress epaulets on each shoulder, bearing a single star. On his right sleeve is the regulation braid for a rear admiral, being two slightly raised bands on a broad band of gold embroidered lace with a ﬁve-pointed gold star above. Cuff of his white shirt is showing. Both of his hands hold the grip and knuckle bow of his elaborate, gold-plated, eagle pommel sword. Frame is of fancy gilded gesso and wood measuring 28” x 32”. Portrait is accompanied by Worden’s Congressional Resolution, which is a framed, partially printed document on vellum, measuring 15” x 18”. Framed oil painting is in very good condition but unrestored. Scratches on Worden’s forehead and chipped paint loss on canvas near corners. Light paint ﬂaking at the upper left hand corner and in the lower right hand corner. Painting has darkened with the age of its varnish. No defects affect the subject. Frame is in excellent condition with one broken scroll at the bottom. Partially printed Congressional Resolution is framed and in very good condition with some fading to the ink and signatures. .................................................................................................. $40,250 James D. Julia Auctioneers

Unmarked .50 caliber percussion pistol with Confederate association. Accompanying the pistol is a note that was found in the barrel that reads, “This pistol was taken from a dead rebel by John Meeker Co. B, 51 Regiment [Pennsylvania Infantry] at the battle of Roanoke Island Presented to B.M. Ganell by J. Meeker.” ......................................... $1,000-$1,725 James D. Julia Auctioneers

Confederate Augusta Machine Works twelve-stop revolver. Serial number R. Cal. 36. 7-15/16” octagonal barrel. Serial number “R” occurs on most major parts. This is a very rare Confederate revolver with probably no more than 10 examples known of this variety, carried in the Civil War by Turner Fisher who fought in the Civil War under the command of cavalry General, John Hunt Morgan. This gun is accompanied by original Confederate holster and an odd cleaning tool, which descended with gun. Gun is gray/brown overall with scattered dings, gouges, scratches, and pitting............................................................. $37,950 James D. Julia Auctioneers

Civil War engraved and inscribed Smith & Wesson No. 2 Army revolver. Serial number 14456. Cal. 32 RF. Usual conﬁguration with 6” octagonal barrel with integral rib and German silver front sight and two-piece rosewood grips numbered to this revolver. Frame, cylinder and barrel are engraved in period chiseled foliate arabesque patterns with punch dot background and a wave and dot pattern on each side of barrel. Backstrap is inscribed in period script “Col. John T. Wilder”. Both sides of receiver have an engraved lightning bolt representing Col. Wilder’s “Lightning Brigade”. Col. Wilder joined the Indiana 17th Infantry as a lieutenant colonel on June 4, 1861, and resigned on Oct. 5, 1864, as a brevette brigadier general. He was born Jan. 31, 1830, and died Oct. 20, 1917. Good to very good condition. Metal retains a dark plum/brown patina with blue in some of very sheltered places. Grips are ﬁne. Good mechanics, strong dark bore. ............................................................... $20,125 James D. Julia Auctioneers

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Pistols and Revolvers/Uniforms

James D. Julia Auctioneers

Right: Colt Navy carried by Captain Thomas Chubb of the Confederate schooner Royal Yacht. Serial number 23167. This Model 1851 Colt Navy was recently found in the state of Vermont, where Chubb died at his summer home in 1886. Chubb’s son had a business of manufacturing ﬁshing rods and reels with the Thomas H. Chubb brand, which are highly collectible today. This business was near Chubb’s summer home in Post Mills, Vermont. The commemorative inscription on backstrap of gun reads “CAPT T. H. CHUBB, 1861-1865” and “CSN ROYAL YACHT” back of trigger guard. Accompanying this gun is a large folio of history. Mechanically ﬁne, tight with sharp edges in “as found” condition. Gun overall is gray with scattered pitting over 20 or 30%, bright blue on barrel. Cylinder scene is complete but with scattered pitting. Backstrap and trigger guard retain a portion of silver plate. Stocks are very good with original varnish; a small chip is present on inside toe of left stock.................... $9,200

This dark blue wool forage cap features an embroidered infantry bugle insignia with regiment number “2” in the center. The cap was worn by Col. Lucius Fairchild, 2nd Wisconsin Infantry during the Gettysburg campaign. Because of the association with the famous Iron Brigade, this cap, which would normally sell for around $3,850, is valued at about....$22,000

Colonel Lewis Merrill of the 2nd Missouri Cavalry ordered royal blue caps with orange welts from a St. Louis supplier. Being able to identify in what regiment a cap was worn strongly boosts the value. ................................................................$14,500 S.E.L.L. Antiques/Paul Goodwin

Wisconsin Veterans Museum

U.S. Model 1858 forage cap with original tag that reads “Size #6 U.S. Army TG & Co.” Two cards with the cap indicate that it once belonged to a U.S. Commissary Captain John Foley. .............. $4,000-$4,500

This is an enlisted cavalry soldier’s version of the Model 1858 hat, complete with yellow hat cord and single ostrich plume held in place by a rosette. ...................................................... $8,000-$9,000

South Carolina major’s frock coat worn by Robert Jefferson Betsill, 18th South Carolina Volunteer Infantry. It is double breasted with 14 large three-piece U.S. staff ofﬁcer buttons. The coat suffered major losses, particularly on one side of the breast. Numerous holes in the sleeves, skirts, and back have been professionally conserved and backed with a similar appearing gray wool cloth. Buttons and rank insignia are modern replacements. ..............................$20,000-$25,000 James D. Julia Auctioneers

Confederate artillery ofﬁcer’s butternut shell jacket with eight Louisiana state seal buttons. Jacket has undergone extensive conservation. The body of jacket is totally re-backed and the original lining has been restored. Additionally, the red collar insignia and cuff trim are new. ................................... $8,500-$9,200

Confederate battle shirt, linen with black silk trim with old tag attached that reads, “Rebel shirt captured at Chattanooga, Sept. 1863.” Shirt is handmade from polished cotton with 1/2” Greek key type of silk trim around collar, pocket, and buttons. Shirt ﬁts a bit like a sack, being only retained with three buttons at top. This is a truly rare artifact. This shirt originally sold in a 1985 Ohio auction, where numerous great identiﬁed items had been de-accessed from various institutions. Very good condition and sound overall. .....................................................$16,100

The measurement and recording of time has been a vital part of human civilization for thousands of years, and the clock, an instrument that measures and shows time, is one of the oldest human inventions. Mechanical, weight-driven clocks were ﬁrst developed and came into use in the Middle Ages. Since the 16th century Western societies have become more concerned with keeping accurate time and developing timekeeping devices that were available to a wider public. By the mid-1600s, spring-driven clocks were keeping much more accurate time using minute and seconds hands. The clock became a common object in most households in the early 19th century.

Novelty shelf or mantel clock, Haddon Clock Co., electric motion clock, “Home Sweet Home,” model of a house in plastic & composition, a square large window over the dial on the left, a window on the right w/a scene of an old woman in a rocker, when plugged in woman rocks & ﬁre shimmers, 20th c., 3 1/2 x 12 1/4", 7 3/8" h. ............................ $185

Collectibles provide a nostalgic look at our youth and a time when things were simpler and easier to understand. Through collecting, many adults try to recapture this time loaded with fond memories. The American soft drink industry has always been part of this collectible nostalgia phenomenon. It ﬁts all the criteria associated with the good times, fond memories, and fun. The world of soda pop collecting has been one of the mainstays of modern collectibles since the start of the genre, and who can deny that Coca-Cola has been at the top of the soda pop world? Organized Coca-Cola collecting began in the early 1970s. The advertising art of The Coca-Cola Company, which used to be thought of as a simple area of collecting, has reached a whole new level of appreciation. Because of their artistic quality, these images deserve to be considered true Americana. Coca-Cola art is more than bottles and trays, more than calendars and signage, more than trinkets, giveaways, and displays. It incorporates all the best that America has to offer. The Coca-Cola Company, since its conception in 1886, has taken advertising to a whole new level. So much so, that it has been studied and dissected by scholars as to why it has proved to be so successful for more than 120 years. Can soda pop advertising be considered true art? Without a doubt! The very best artists in America were an integral part of that honorary place in art history. Renowned artists like Rockwell, Sundbloom, Elvgren, and Wyeth helped take a quality product and advance it to the status of an American icon and all that exempliﬁes the very best about America. This beautiful advertising directly reﬂects the history of our country: its styles and fashion, patriotism, family life, the best of times, and the worst of times. Everything this country has gone through since 1886 can be seen in these wonderful images. For more information on Coca-Cola collectibles, see Petretti’s Coca-Cola Collectibles Price Guide, 12th edition, by Allan Petretti.

1907, 8” x 10”, celluloid, manufactured by Whitehead and Hoag Co., Newark, N.J. $20,000 Note: The celluloid “Satisﬁed” sign is very rare. The price range is for examples in high quality collector condition and complete with ornate corners as shown. Examples in lesser condition will be valued much lower.

Late 1930s, 12” x 14” reverse glass, The Brunhoff Mfg. Co., Near Mint condition ........ $5,000 Note: This Brunhoff sign is highly desirable to collectors. In Mint condition at auction, it has been known to bring above the value listed.

Brent Frankenhoff, editor of Krause Publications’ Comics Buyer’s Guide (http://cbgxtra.com) said, “2010 was marked by three comics cracking the $1 million barrier, and 2011 added another member to that group before the end of the ﬁrst quarter.” The record-setting 2010 sales were for comics from the 1930s, the beginning of what collectors call the Golden Age: two copies of Action Comics #1 (June 1938, featuring the ﬁrst appearance of Superman, one graded 8.0, Very Fine, one graded 8.5, Very Fine +) and a copy of Detective Comics #27 (May 1939, the ﬁrst appearance of Batman, graded 8.0). Both of the copies of Action #1 were sold through ComicConnect.com, whose co-founder, Vincent Zurzolo, said at the time, “The only comics that are worth more are higher-grade copies of Action Comics #1.” Just over a year since he made that statement, Zurzolo helped broker the ﬁrst $1 million sale of a comic book from the Silver Age of comics, when ComicConnect.com sold a copy of Amazing Fantasy #15 (August 1962, the ﬁrst appearance of Spider-Man) for $1.1 million March 7. Graded 9.6 (Near Mint+) by third-party grading service Certiﬁed Guaranty Company, the issue is the only copy graded that high to date. There are no copies graded higher. So do you have a $1 million comic book in your attic, basement, or closet? “Probably not,” said Frankenhoff. “These high-end comics are few and far between, which is much of what makes them so valuable. Their outstanding condition is another factor. Time and again, I see sellers who don’t take condition into account when pricing their comics at a show or in a shop, only focusing on the highest value listed in any price guide. A collector with any level of experience is going to know that those prices are wrong for copies that show even slight damage.” Comics Buyer’s Guide Senior Editor Maggie Thompson agreed that a major factor in prices realized for rare comics of historic importance is determination of their condition by the CGC thirdparty grading service. Though usually not a factor in buying and selling most back issues, conﬁrmation of nearperfect condition by CGC can boost the price. “But,” she added, “most back-issue comics can’t meet CGC’s stringent requirements for a Near Mint copy.” Super-hero ﬁlms usually have only a short-term effect on back-issue prices. When ﬁlms featuring SpiderMan were released, prices on the early appearances of Spider-Man and those issues containing each ﬁlm’s foes rose. Similar price jumps happened with Batman ﬁlms and, to a lesser degree, with other movies including the Iron Man franchise. However, it’s a bubble Amazing Fantasy #15 (Aug 62) .............$10,000-$100,000 Visit www.AntiqueTrader.com

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Comics

COMICS

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Courtesy Heritage Auction Galleries

Batman No. 1, 1940, the character’s ﬁrst solo, sold at auction for $55,269 on Aug. 5, 2010. It was graded 5.5 on a scale of 1 to 10.

that bursts quickly, especially if the movie in question doesn’t turn out to be a blockbuster. Speaking of bubbles, remember the huge comics output of the late 1980s and early 1990s? Two decades later, people continue to try and cash in on those speculations, only to ﬁnd that the demand is so low and the supply of high-grade copies so high that such items are only being bought by the pound, if then, by most dealers. So what should the collector getting into (or returning to) comics seek out? Buy comics you enjoy. If the price goes up, that’s a bonus. Visit a comics convention (there are hundreds around the country each year) to see what creators, companies, and even dealers are pushing at their booths. You may discover the next sleeper hit. Early issues of such recent series as Walking Dead, Chew, and Mouse Guard have skyrocketed in price and are holding those values over a longer period. Even with paperback and hardcover reprint collections available, collectors eagerly seek early issues of now-popular series that had low initial print runs. In any case, if you buy what you like, you’ll have invested in your own pleasure.

VALUES ◆ Comics have been avidly collected for years. Prices for scarce, early issues of a particular series are often higher than for later issues. However, key events (the first appearance of a character, a creator’s first work, or other factors) can also affect value. Prices listed below show a range for copies from “Good” to “Near Mint” condition. “Near Mint” means a nearly perfect copy, whereas “Good” is applied to a copy that’s complete but is worn, with visible defects. Note the wide difference between the prices because of condition.

BRENT FRANKENHOF, MAGGIE THOMPSON, PETER BICKFORD Action Comics #1 is historically signiﬁcant because it contains the ﬁrst appearance of Superman, written by Jerry Siegel and drawn by Joe Shuster. With Superman jumpstarting the super-hero genre and what is known as The Golden Age of comics, the issue has been reprinted several times in the past 72 years, so collectors should be wary of copies presented as the original printing. This is especially true of an oversized reprint from the early 1970s that was one of DC’s Famous First Editions titles. That reprint was roughly the size of a Life magazine, and there have been several cases of buyers being told, “Comics back then were that much bigger than comics of today,” and informed that the reprint was the original. (Such sellers would remove the cardboard identifying outer cover, leaving what appeared to be a complete copy of Action #1, including the glossy cover and all the original ads.) Action Comics was an anthology series, containing several stories featuring other characters, and The Man of Steel’s ﬁrst outing was actually a late addition to the package. Long considered one of the “holy grails” of the collecting hobby, copies of the issue in collectible condition have been selling at gradually higher and higher prices over the years. These 2010 sales surpassed all previous sales by a wide margin. It is estimated that, of its 200,000 copy initial print run, around 100 copies still exist — and approximately half of those have been graded by CGC. Just shy of a year after Superman’s introduction, Batman (written by Bill Finger and drawn by Bob Kane) ﬁrst appeared in Detective Comics #27, another anthology title — and the series whose initials gave DC its identity. Initially an anthology of mystery stories, Detective quickly embraced super-heroes with The Caped Crusader’s adventures. The issue hasn’t been reprinted as often as Action #1, but there is an oversized early 1970s Famous First Edition out there, as well as a 1984 reprint. It’s estimated that 175,000 copies of this key issue were printed in 1939, with approximately 100 copies surviving and 50 being CGC-graded.

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Cookie Jars

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Cookie Jars COOKIE JARS

Cookie jars evolved from the elegant British biscuit jars found on Victorian-era tables. These 19th century containers featured bail handles, and were often made of sterling silver and cut crystal. As the biscuit jar was adapted for use in America, it migrated from the dining table to the kitchen and, by the late 1920s, it was common to ﬁnd a green-glass jar (or pink or clear), often with an applied label and a screw-top lid, on kitchen counters in the typical American home. During the Great Depression—when stoneware was still popular, but before the arrival of widespread electric refrigeration—cookie jars in round and barrel shapes arrived. These heavy-bodied jars could be hand-painted after ﬁring. This decoration was easily worn away by eager hands reaching for Mom’s bakery. The lids of many stoneware jars typically had small tapering ﬁnials or knobs that also contributed to cracks and chips. The golden age of cookie jars began in the 1940s and lasted for less than three decades, but the examples that survive represent an exuberance and style that have captivated collectors. It wasn’t until the 1970s that many collectors decided—instead of hiding their money in cookie jars—to invest their money in cookie jars. It was also at this time that cookie jars ceased to be simply storage vessels for bakery and evolved into a contemporary art form. And it’s because of this evolution from utility to art that—with some exceptions—we have limited the scope of this book to jars made from the 1930s to the early 1970s. The Brush Pottery Co. of Zanesville, Ohio, produced one of the ﬁrst ceramic cookie jars in about 1929, and Red Wing’s spongeware line from the late 1920s also included a ridged, barrel-shaped jar. Many established potteries began adding a selection of cookie jars in the 1930s. The 1940s saw the arrival of two of the most famous cookie jars: Shawnee’s Smiley and Winnie, two portly, bashful little pigs who stand with eyes closed and heads cocked, he in overalls and bandana, she in ﬂowered hat and long coat. And a host of Disney characters also made their way into American kitchens. In the 1950s, the ﬁrst television-inﬂuenced jars appeared, including images of Davy Crockett and Popeye. This decade also saw the end of several prominent American potteries (including Roseville) and the continued rise of imported ceramics. A new collection of cartoon-inspired jars was popular in the 1960s, featuring characters drawn from the Flintstones, Yogi Bear, Woody Woodpecker, and Casper the Friendly Ghost. Jars reﬂecting the race for space included examples from McCoy and American Bisque. This decade also marked the peak production era for a host of West Coast manufacturers, led by the twin brothers Don and Ross Winton. For more information on cookie jars, see Warman’s Cookie Jars Identiﬁcation and Price Guide by Mark F. Moran. Visit www.AntiqueTrader.com

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Baby #561, 11” tall, 1941-42. The Witch is the most valuable of the Abingdon jars, but the Baby is much harder to ﬁnd. It comes in Frost Blue, Fern Green, Cameo Pink, Antique White, Jonquil Yellow (shown), and Gunmetal Black............................... $500+

This glazed ceramic ﬁgural cookie jar by American Bisque Co. depicts Harvey Cartoons characters Herman and Katnip hunkered down while Herman the mouse stands atop his back, serving as the lid handle; “Herman And Katnip” names are incised on the base and “USA” is incised on the opposite side; 10” by 11” by 6-3/4” deep, early 1960s....................................................................... $10,143.67 Courtesy Hake’s Americana

Mammy by Brayton Laguna, in rare red dress, 11-3/4” tall, 1940s, hand inscribed, “Brayton 2”; Adding to the confusion caused by reproductions is the fact that the genuine Brayton Laguna Mammy has been found in sizes up to almost 13” tall. With red dress ....... $800-$900 Other colors .................$600+

COOKIE JARS

Spaceship by American Bisque, with stencil, “Cookies Out of This World,” 10-3/8” tall, late 1950s, raised mark on back, “U.S.A.” ....................................... $700+

Balloon Boy by Brush, one of the company’s last production jars, 11” tall, 1971, unmarked, also found with paper label, “W56.” .................................... $1,000+

Chick on Nest. The version of this jar that went into production‚ the green and white one with the feather‚ is marked “W38.” It was made in 1966 and is worth $350. It is very hard to ﬁnd one with an undamaged feather. The tan, featherless chick was an experimental piece, and it comes with a letter of authenticity from the man who took it home from the factory. The letter, written by Robert Bush, age 89, is dated Feb. 14, 1999. It reads, in part: “I worked on the kiln when the kiln foreman gave me the chicken jar. I drew it out of the kiln and told the foreman I liked it. A couple of weeks later he called me into his ofﬁce and said that I could have it. ... It is the only one made like it to my knowledge. We made many other test jars trying things out, like the Squirrel and the Bear jar, but not many of them got out of the shop. Didn’t want people copying our ideas.” Special Chick: ..................................................................... $3,000+

Cow with Cat Finial by Brush, 12-1/2” long, 1950s, raised mark, “Brush USA” in an artist’s palette, and “W10.” Prices vary widely depending on colors used, from about $200 for typical tan and yellow, to near $2,000 for purple or blue combinations, or with gold trim. .................................................. $200-$2,000

Lady in the Blue Dress, unmarked. According to collector Kathleen Moloney, “This jar is rare, valuable, and shrouded in mystery. It was obviously produced by Brush. The pottery is pure Brush; the colors are identical to those of the Little Girl, Little Angel, and Little Boy Blue jars, to name a few; and the base of the jar is similar to the Clown Bust.” There is only one of these jars known to exist, but there are probably more out there...........................................$3,500+

Sailor Elephant, unmarked but known to be Cardinal. The Cardinal catalog sheet from 1961 included a picture of several jars that had been thought to be American Bisque. This Sailor Elephant‚ who has “SS Cookie” in black letters on his hat‚ was one of them. ....................................... $200+

Corn (prototype) by McCoy in green and yellow (sometimes found all yellow or all white, but not with two glazes), 9-1/2” tall, probably late 1950s, unmarked. ....................................... $500+

Mammy in yellow, also found in white and aqua with cold paint decoration (widely available as a slightly smaller reproduction), 1950s, McCoy mark. (Rarely found with two other phrases around base: “Dem Cookies Sure Am Good” and “Dem Cookies Sure Got Dat Vitamin A.”) ...$200-$225

Above: Mammy with Watermelon by Weller, 10-3/4” tall, mid-1930s, impressed mark in script, “Weller Pottery Since 1872.” Beware of reproductions. ... $4,000+ Left: Raggedy Ann (sitting), attributed to William Hirsch, and also found other colors including woodtone brown, 9-3/4” tall, 1960s. (The head, face, and general attitude of this jar are similar to a standing Raggedy Ann made by Brush.) ...................... $350+ Above left: Winkie by Vallona-Starr, 8-1/4” tall, marked “Vallona-Starr 302 Copyright (symbol) 51 California.” This jar is widely available as a reproduction. ............................................... $1,000-$1,200

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Currier & Ives Prints

CURRIER & IVES PRINTS

Currier & Ives Prints This lithographic ﬁrm was founded in 1835 by Nathaniel Currier, with James M. Ives becoming a partner in 1857. Current events of the day were portrayed in the early days, and the prints were hand-colored. Landscapes, vessels, sport and hunting scenes of the West all became popular subjects. The ﬁrm was in existence until 1906. All prints listed are hand-colored unless otherwise noted. Numbers at the end of the listings refer to those used in Currier & Ives Prints - An Illustrated Checklist, by Frederick A. Conningham (Crown Publishers). 씱A Good Chance, large folio, 1863, framed, 2424, mat stain, subtle toning, minor foxing, repaired tear in corner edge, old tape residue on face edges & back ................................................................. $4,700

Winter in the Country - The Old Grist Mill, large folio, 1864, framed, repaired tear in lower title, light mat stain ......................................................... $8,813

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Decoys

Decoys DECOYS

Decoys have been used for years to lure ﬂying water fowl into target range. They have been made of carved and turned wood, papier-mâché, canvas and metal. Some are in the category of outstanding folk art and command high prices.

Disney characters card set, “Walt Disney Cartooning Cards,” each w/a color picture of a different Disney character including Dumbo, Lady & the Tramp, Pinocchio & Mickey Mouse, the back of each w/instructions on how to draw the character, 1959, complete set of 18 cards (ILLUS. of part) .............................. $278

DISNEY COLLECTIBLES

Collectibles that feature Mickey Mouse, Donald Duck and other famous characters of cartoon icon Walt Disney are everywhere. They can be found with little effort at ﬂea markets, garage sales, local antiques and toys shows and online, as well as through auction houses and specialty catalogs. Of the Disney toys, comics, posters, and other items produced from the 1930s through the 1960s, prewar Disney material is by far the most desirable.

Mickey Mouse toy, windup tin, Mickey Mouse Ferris Wheel, colorful printing w/the head of Mickey at the side of the base, other Disney characters on the baskets, by Chein, mechanism replaced, other restoration, 17" h. ........................................ $230

Drugstore & Pharmacy Items The old-time corner drugstore, once a familiar part of every American town, has now given way to a modern, efﬁcient pharmacy. With the streamlining and modernization of this trade, many of the early tools and store adjuncts have been outdated and now fall in the realm of “collectibles.” Listed here are some of the tools, bottles, display pieces and other emphemera once closely associated with the druggist’s trade.

■ Hummel Figurines & Collectibles ____________________ The Goebel Company of Oeslau, Germany, ﬁrst produced M.I. Hummel porcelain ﬁgurines in 1934, having obtained the rights to adapt the beautiful pastel sketches of children by Sister Maria Innocentia (Berta) Hummel. Every design by the Goebel artisans was approved by the nun until her death in 1946. Goebel produced these charming collectibles until Sept. 30, 2008. Manufaktur Rodental GmbH resumed production in 2009. For more information on M.I. Hummel collectibles, see The Ofﬁcial M.I. Hummel Price Guide (Krause Publications, a division of F+W Media, Inc.).

HUMMEL TRADEMARKS Since 1935, there have been several changes in the trademarks on M.I. Hummel items. In later years of production, each new trademark design merely replaced the old one, but in the earlier years, frequently the new design trademark would be placed on a ﬁgurine that already bore the older style trademark.

The Crown Mark (TMK-1): 1934-1950 The Crown Mark (TMK-1 or CM), sometimes referred to as the “Crown-WG,” was used by Goebel on all of its products in 1935, when M.I. Hummel ﬁgurines were ﬁrst made commercially available. The letters WG below the crown in the mark are the initials of William Goebel, one of the founders of the company. The crown signiﬁes his loyalty to the imperial family of Germany at the time of the mark’s design, around 1900. The mark is sometimes found in an incised circle. Another Crown-type mark is sometimes confusing to collectors; some refer to it as the “Narrow Crown” and others the “Wide Ducal Crown.” This mark was introduced by Goebel in 1937 and used on many of its products. Often, the Crown Mark will appear twice on the same piece, more often one mark incised and the other stamped. This is, as we know, the “Double Crown.” When World War II ended and the United States Occupation Forces allowed Goebel to begin exporting, the pieces were marked as having been made in the occupied zone. These marks were applied to the bases of the ﬁgurines, along with the other markings, from 1946 through 1948. They were sometimes applied under the glaze and often over the glaze. Between 1948 and 1949, the U.S. Zone mark requirement was dropped, and the word “Germany” took its place. With the partitioning of Germany into East and West, “W. Germany,” “West Germany,” or “Western Germany” began to appear most of the time instead.

Incised Crown Mark

Stamped Crown Mark

Wide Ducal Crown Mark

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The Full Bee Mark (TMK-2): 1940-1959

Incised Full Bee

FIGURINES

In 1950, Goebel made a major change in its trademark. The company incorporated a bee in a V. It is thought that the bumblebee part of the mark was derived from a childhood nickname of Sister Maria Innocentia Hummel, meaning bumblebee. The bee ﬂies within a V, which is the ﬁrst letter of the German word for distributing company, Verkaufsgesellschaft. There are actually 12 variations of the Bee marks to be found on Goebel-produced M.I. Hummel items. The Full Bee mark, also referred to as TMK-2 or abbreviated FB, is the ﬁrst of the Bee marks to appear. The mark evolved over nearly 20 years until the company began to modernize it. It is sometimes found in an incised circle. The very large bee ﬂying in the V remained until around 1956, when the bee was reduced in size and lowered into the V. It can be found incised, stamped in black, or stamped in blue, in that order, through its evolution.

Stamped Full Bee Baby Bee

The High Bee

Vee Bee

Small Bee - Note that the bee’s wingtips are level with the top of the V.

The Stylized Bee (TMK-3): 1958-1972 A major change in the way the bee is rendered in the trademark made its appearance in 1960. The Stylized Bee (TMK-3), sometimes abbreviated as Sty-Bee, as the major component of the trademark appeared in three basic forms through 1972. The ﬁrst two are both classiﬁed as the Stylized Bee (TMK-3), but the third is considered a fourth step in the evolution, the Three Line Mark (TMK-4). The Large Stylized Bee: This trademark was used primarily from 1960 through 1963. The color of the mark will be black or blue. It is sometimes found inside an incised circle. When you ﬁnd the Large Stylized Bee mark, you will normally ﬁnd a stamped “West” or “Western Germany” in black elsewhere on the base, but not always. The Small Stylized Bee: This mark is also considered to be TMK-3. It was used concurrently with the Large Stylized Bee from about 1960 and continued in this use until about 1972. The mark is usually rendered in blue, and it too is often accompanied by a stamped black “West” or “Western Germany.” Collectors and dealers sometimes refer to the mark as the One Line Mark.

Large Stylized Bee

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The Three Line Mark (TMK-4): 1964-1972

FIGURINES

This trademark is sometimes abbreviated 3-line or 3LM in print. The trademark used the same stylized V and bee as the others, but also included three lines of wording beside it. This major change appeared in blue.

Three Line Mark

The Last Bee Mark (TMK-5): 1972-1979 Developed and occasionally used as early as 1970, this major change was known by some collectors as the Last Bee Mark because the next change in the trademark no longer incorporated any form of the V and the bee. However, with the reinstatement of a bee in TMK-8 with the turn of the century, TMK-5 is not technically the “Last Bee” any longer. The mark was used until about mid-1979. There are three minor variations in the mark shown in the illustration. Generally, the mark was placed under the glaze from 1972 through 1976 and is found placed over the glaze from 1976 through 1979.

Last Bee Mark

The Missing Bee Mark (TMK 6): 1979-1991 The transition to this trademark began in 1979 and was complete by mid-1980. Goebel removed the V and bee from the mark altogether, calling it the Missing Bee. In conjunction with this change, the company instituted the practice of adding to the traditional artist’s mark the date the artist ﬁnished painting the piece.

Missing Bee Mark

The Hummel Mark (TMK-7): 1991-1999 In 1991, Goebel changed the trademark once again. This time, the change was not only symbolic of the reuniﬁcation of the two Germanys by removal of the “West” from the mark, but very signiﬁcant in another way. Until then, Goebel used the same trademark on virtually all of its products. The mark illustrated here was for exclusive use on Goebel products made from the paintings and drawings of M.I. Hummel.

Hummel Mark

The Millennium Bee (TMK-8): 2000-2008 Goebel decided to celebrate the beginning of a new century with a revival in a bee-adorned trademark. Seeking once again to honor the memory of Sister Maria Innocentia Hummel, a bumblebee, this time ﬂying solo without the V, was reinstated into the mark in 2000 and ended in 2008. Goebel stopped production of the M.I. Hummel ﬁgurines on Sept. 30, 2008.

Millennium Bee Mark

The Manufaktur Rödental Mark (TKM-9): 2009-Present Manufaktur Rödental purchased the rights to produce M.I. Hummel ﬁgurines from Goebel in 2009. This trademark signiﬁes a new era for Hummel ﬁgurines while maintaining the same quality and workmanship from the master sculptors and master painters at the Rödental factory. This trademark has a full bee using yellow and black for the bumblebee, which circles around the words “Original M.I. Hummel Germany” with the copyright sign next to M.I. Hummel. Manufaktur Rödental is underneath the circle with a copyright sign.

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EARLY M.I. HUMMEL FIGURINES For purposes of simpliﬁcation, the various trademarks have been abbreviated in the list. Generally speaking, earlier trademarks are worth more than later trademarks.

Hum 4: Little Fiddler, trademarks 1-8. The left piece features the doll face with pale hands and face, different head position, and lack of neckerchief. ......................................................... $200-$1,200

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Hum 6: Sensitive Hunter, trademarks 1-8. .............. $125-$1,200

Hum 7: Merry Wanderer, trademarks 1-8. ............ $200-$25,000

Hum 8: Book Worm, trademarks 1-8. This image shows the comparison between the normal skin coloration (left) and the pale coloration. .......................................................................................$200-$300

Hum 44/A and 44/B: Culprits and Out of Danger table lamps, trademarks 1-6 ..........................................................................$195-$450 each

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◆ Open Edition: Figurine currently in production. ◆ Closed Edition: Figurine no longer manufactured. ◆ Limited Edition: Figurine produced for a specific time period or in a limited quantity. ◆ Members’ Exclusive Edition: Figurine created only for Hummel club members. ◆ Expired Edition: Hummel club exclusive figurine that is no longer available.

The Precious Moments line of collectibles began more than 30 years ago when artist Sam Butcher and his partner, Bill Biel, started a greeting card company called Jonathan & David Inc. in Grand Rapids, Michigan. They prepared a line of cards and posters with teardropeyed children and inspirational messages, called Precious Moments, for the Christian Booksellers Association convention in 1975. Around that time, Eugene Freedman, then president and CEO of Enesco Corporation, spotted Butcher’s artwork and thought the drawings would translate well into ﬁgurines. Japanese sculptor Yasuhei Fujioka transformed one of Butcher’s drawings into threedimensional form, and this piece was called Love One Another. Everyone was so pleased with the resulting ﬁgurine that 20 more drawings were given to the sculptor, and in 1979, 21 Precious Moments ﬁgurines (called the “Original 21”) were introduced to the public. Made of porcelain bisque painted pastel colors, the ﬁgurines and their inspirational messages were an immediate hit with the public. So popular was the line of ﬁgurines that it spawned several clubs, including the Precious Moments Collectors’ Club in 1981, the Precious Moments Birthday Club in 1985, and the Precious Moments Fun Club (which replaced the Birthday Club) in 1998. Since 1979, more than 1,500 Precious Moments ﬁgurines have been produced. Each year approximately 25 to 40 new items are released and 12 to 20 existing pieces are retired or suspended from production. Besides the Precious Moments line, Butcher produced a collection modeled after his grandchildren, called Sammy’s Circus. In 1992 he created Sugar Town, a representation of small-town life. Today the Precious Moments collection includes ﬁgurines, ornaments, plates, bells, musicals, picture frames, and a whole host of giftware and home décor items. Enesco Corporation produced the line until 2005. Precious Moments Inc., based in Carthage, Missouri, currently oversees the distribution of Precious Moments products. For more information on Precious Moments, see Warman’s Field Guide to Precious Moments Collectibles by Mary Sieber.

ORIGINAL 21 Come Let Us Adore Him E2011 God Loveth a Cheerful Giver E1378 God Understands E1379B He Careth For You E1377B He Leadeth Me E1377A His Burden is Light E1380G Jesus is Born E2012 Jesus is the Answer E1381 Jesus is the Light E1373G Jesus Loves Me (two ﬁgurines) E1372B and E1372G

Love is Kind E1379A Love Lifted Me E1375A Love One Another E1376 Make a Joyful Noise E1374G O, How I Love Jesus E1380B Praise the Lord Anyhow E1374B Prayer Changes Things E1375B Smile, God Loves You E1373B Unto Us a Child is Born E2013 We Have Seen His Star E2010

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PRODUCTION MARKS A symbol or mark is found on the bottom of each Precious Moments collectible, indicating the year it was produced. Enesco Corporation began putting these marks on Precious Moments pieces starting in 1981. Figurines produced before mid-1981 have no marks and are referred to as “no mark” pieces. The earliest marks are often the most difﬁcult to locate and, as a result, are continually sought after by collectors. They often have a higher secondary market value as well. 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990

Wishing You a Season Filled With Joy E2805, 1980. ..............................................................$80-$120

Wishing You a Cozy Season 521949, 1989..................... $38

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Waddle I Do Without You 12459, Clown series, 1985. .............. $46

We’re In It Together E9259, 1982. ................... $55

You Can’t Run Away From God E0525, 1983...............$85-$155

You Have Touched So Many Hearts E2821, 1984....................... $47

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■ Wade Ceramics __________________________________ In 1967, Brooke Bond Foods, the then-parent company of Red Rose Tea, contracted with George Wade and Son Ltd., a British ceramics manufacturer with roots dating back to 1867, to produce a line of miniatures to be included in specially marked boxes of Red Rose Tea in certain parts of Canada. The original 32 miniatures — known as “Whimsies” — were comprised of an assortment of animals. The company was pleased with the results, and launched a similar promotion in 1970, this time targeting the British market. In 1983, the company started including the miniatures in tea sold in the United States. In all, there have been a total of 206 different Whimsies issued by Wade for Red Rose Tea promotions. Collectors of Wade Whimsies congregate on sites like the Wade Whimsies group on Yahoo! (visit WadeWhimsies.com for more information), and there’s also the Ofﬁcial International Wade Collectors Club (WadeCollectorsClub.co.uk). Ian Warner, a longtime collector and co-author of The World of Wade Figurines and Miniatures II, which was released in March, says that in the early days of the promotion, quality control was virtually nonexistent. “Many ﬁgurines came from the pottery with ﬂaws or even broken but with a glaze over the broken area,” he says. “Collectors are only interested in ﬁgurines without ﬂaws, cracks, etc., which makes it more interesting for collectors to hunt down the more ‘perfect’ pieces. Many ﬁgurines came from the pottery with slightly differing decorations as the early ﬁgurines were hand-painted. These variations are very collectible and highly sought after by collectors.” In recent years, says Warner, the variations in Whimsies have actually increased because of a change in the method of production. “For many years the ﬁgurines were produced using hand-crafted steel forms or molds. Each mold could produce up to 30,000 ﬁgurines before being discarded or remade,” he says. “Starting with the Pet Shop series [in 2006], Wade started to use a new method of production called ‘solid casting.’ Only about 30 ﬁgurines could be produced from a mold, so many molds had to be made. This has caused a large number of size and mold variations.” Wade ﬁgurines also have a long history outside of their association with Red Rose Tea. Wade ﬁrst began manufacturing Whimsies in 1953 and had been producing other ﬁgurines since the 1930s. Some of these early ﬁgurines fetch prices many times that of the most valuable Red Rose ﬁgurines. Zac Bissonnette, for Antique Trader magazine

OFFICIAL INTERNATIONAL WADE COLLECTORS CLUB (OIWCC) The Ofﬁcial International Wade Collectors Club (OIWCC) was formed in 1994 with the intention of uniting collectors of both new and old Wade ﬁgurines from around the world. Members receive a quarterly magazine, The Ofﬁcial Wade Collectors Club Magazine, which has news and views, details of the Wade events throughout the year, sales and wants, and members-only exclusive offers; for 2011 the members-only set will be a set of whimsies: the Survival Set.

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FIGURINES

Members also receive a membership certiﬁcate and card, a membership Whimsie plaque showing the year of membership, and a free exclusive ﬁgurine each year; for 2011, the club exclusive will be a Whimsie Elephant, part of the Survival Whimsies series of 2011. To become a member of the OIWCC, write to The Ofﬁcial International Wade Collectors Club, PO Box 3012, Stoke-on-Trent, ST3 9DD, England, UK. For more information on the OIWCC, contact [email protected] or visit www.wadecollectorsclub.co.uk. The OIWCC can be contacted via telephone at 0845 2462525 or from the U.S. +44 845 2462525.

Complete set of Wade ﬁrst edition Whimsies, set of ﬁve; horses, issued 1956-1959, including mare, foal, colt and beagle in addition to a leaping fawn. ...................................................................... $50

■ Antique ________________________________________ Furniture collecting has been a major part of the world of collecting for over 100 years. It is interesting to note how this marketplace has evolved. Whereas in past decades, 18th century and early 19th century furniture was the mainstay of the American furniture market, in recent years there has been a growing demand for furniture manufactured since the 1920s. Factory-made furniture from the 1920s and 1930s, often featuring Colonial Revival style, has seen a growing appreciation among collectors. It is well made and features solid wood and ﬁne veneers rather than the cheap compressed wood materials often used since the 1960s. Also much in demand in recent years is furniture in the Modernistic and Mid-Century taste, ranging from Art Deco through quality designer furniture of the 1950s through the 1970s. These latest trends have offered even the less well-healed buyer the opportunity to purchase ﬁne furniture at often reasonable prices. Buying antique and collectible furniture is no longer the domain of millionaires and museums. Today more furniture is showing up on Internet sites, and sometimes good buys can be made. However, it is important to deal with honest, well-informed sellers and have a good knowledge of what you want to purchase. As in the past, it makes sense to purchase the best pieces you can ﬁnd, whatever the style or era of production. Condition is still very important if you want your example to continue to appreciate in value in the coming years. For 18th century and early 19th century pieces, the original ﬁnish and hardware are especially important as it is with good furniture of the early 20th century Arts & Crafts era. These features are not quite as important for most manufactured furniture of the Victorian era and furniture from the 1920s and later. However, it is good to be aware that a good ﬁnish and original hardware will mean a stronger market when pieces are resold. Of course, whatever style of furniture you buy, you are better off with examples that have not had major repair or replacements. On really early furniture, repairs and replacements will deﬁnitely have an impact on the sale value, but they will also be a factor on newer designs from the 20th century. As with all types of antiques and collectibles, there is often a regional preference for certain furniture types. Although the American market is much more homogenous than it was in past decades, there still tends to be a preference for 18th century and early 19th century furniture along the Eastern Seaboard, whereas Victorian designs tend to have a larger market in the Midwest and South. In the West, country furniture and “western” designs deﬁnitely have the edge except in major cities along the West Coast. Whatever your favorite style furniture, there are still ﬁne examples to be found. Just study the history of your favorites and the important points of their construction before you invest heavily. A wise shopper will be a happy shopper and have a collection certain to continue to appreciate as time marches along. For more information on furniture, see Antique Trader Furniture Price Guide by Kyle Husﬂoen.

◆ The Art Deco movement is considered to have begun with the May 1925 International Exposition of Decorative Arts, although the movement wasn’t known by that name until 1968, when a Parisian museum exhibited original items from the 1925 Exposition. The German version of Art Deco was known as Bauhaus.

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GARDEN & LAWN

Settees, Laurel patt., the long scallop-topped back composed of openwork panels of large vertical leafy branches curving around to tapering scrolled arms, the long half-round seat composed of leafy scrolls, the front legs in the form a bird head & large wing curving down to a claw foot, old white paint, ca. 1900, 42” l., 29” h., pr. ....................$5,520

Settee, Windsor “sack-back” style, the very long slender bowed crestrail above numerous slender turned spindles continuing down through the medial rail that curve to form the ﬂat shaped arms on pairs of spindles & baluster- and ring-turned canted arm supports, the long plank seat raised on eight canted balusterand ring-turned legs joined by three swelled H-stretchers, old ﬁnish, label of John DeWitt, New York City, 1797, 22 x 81”, 37” h. ...$31,200

◆ Chippendale legs were made in six basic forms: the lion’s paw, the ball and claw, the late Chippendale, the Marlborough, the spade, and the club. ◆ The Chippendale style cabriole leg is associated with the ball and claw foot which has its origins in China and represents a dragon clutching a pearl. Washstand, Federal corner-style, inlaid mahogany, the quarter-round top w/a delicate arched backsplash w/a tiny shelf above a top w/a large central hole ﬂanked by smaller holes, the edge of the top w/delicate banded inlay, raised on three slender square supports above a medial shelf above an inlaid apron centered by a small drawer, raised on three slender outswept legs joined by a T-form stretcher, probably Portsmouth, New Hampshire, 1800-10, 16 1/2 x 23”, 41” h. .........$11,400

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◆ Mahogany’s dense fine grain is especially prized for its ability to show exquisite detail in carvings. Thus, it was used extensively for handcarved ball-and-claw feet. The golden age of mahogany extended from 1720 to 1860.

Modern style side table, oak, three-tier ‘ﬂower table,’ a thick rectangular top overhanging a framework w/a short narrow top shelf raised on four square supports enclosing a medial shelf & joined to four square legs w/outswept feet & joined by a wider bottom shelf, designed by Frank Lloyd Wright in collaboration w/ George Mann Niedecken of Niedecken-Walbridge, for the Second Story Hall of the Avery Coonley House, Riverside, Illinois, ca. 1910, 16 x 29 7/8”, 25 1/4” h. ...............................................$59,750

Modern design is everywhere, evergreen and increasingly popular. Modernism has never gone out of style. Its reach into the present day is as deep as its roots in the past. Just as it can be seen and felt ubiquitously in the mass media of today – on ﬁlm, television, in magazines and department stores – it can be traced to the mid-1800s post-Empire non-conformity of the Biedermeier Movement, the turn of the 20th century anti-Victorianism of the Vienna Secessionists, the radical reductionism of Frank Lloyd Wright and the revolutionary postDepression thinking of Walter Gropius and the Bauhaus school in Germany. “The Modernists really changed the way the world looked,” said John Sollo, a partner in Sollo Rago Auction of Lambertville, N.J. Sollo’s partner in business, and one of the most recognizable names in the ﬁeld, David Rago, takes Sollo’s idea a little further by saying that Modernism is actually more about the names behind the design than the design itself, at least as far as buying goes. No discussion of Modern can be complete, however, without examining its genesis and enduring inﬂuence. Modernism is everywhere in today’s pop culture. Austere Scandinavian furniture dominates the television commercials that hawk hotels and mutual funds. Post-war American design ranges across sitcom set dressings to movie sets patterned after Frank Lloyd Wright houses and Hollywood Modernist classics set high in the hills. You have to look at the dorm rooms of college students and the apartments of young people whose living spaces are packed with the undeniably Modern mass-produced products of IKEA, Target, Design Within Reach and the like. There can be no denying that the post-World War II manufacturing techniques and subsequent boom led to the widespread acceptance of plastic and bent plywood chairs along with low-sitting coffee tables, couches and recliners. “The modern aesthetic grew out of a perfect storm of post-war optimism, innovative materials and an incredible crop of designers,” said Lisanne Dickson, director of 1950s/ Modenr Design at Treadway-Toomey. “I think that the people who designed the furniture were maybe ahead of society’s ability to accept and understand what they were doing,” Sollo said. “It’s taken people another 30 to 40 years to catch up to it.” There are hundreds of great Modern designers, many of whom worked across categories – furniture, architecture, ﬁne art, etc. – and many contributed to the work of other big names without ever seeking that glory for themselves. For more information on Modernism, see Warman’s Modernism Furniture & Accessories Identiﬁcation and Price Guide by Noah Fleisher.

Baccarat glass has been made by Cristalleries de Baccarat, France, since 1765. The ﬁrm has produced various glassware of excellent quality as well as paperweights. Baccarat’s Rose Tiente is often referred to as Baccarat’s Amberina.

Model of a bear, colorless crystal, a stylized walking animal, signed on the bottom & side, 11" l.... $2,300

■ Bride’s Baskets & Bowls ____________________________ These berry or fruit bowls were popular late Victorian wedding gifts, hence the name. They were produced in a variety of quality art glasswares and sometimes were ﬁtted in ornate silver plate holders.

■ Cambridge ______________________________________ The Cambridge Glass Company was founded in Ohio in 1901. Numerous pieces are now sought, especially those designed by Arthur J. Bennett, including Crown Tuscan. Other productions included crystal animals, “Black Amethyst,” “blanc opaque,” and other types of colored glass. The ﬁrm was ﬁnally closed in 1954. It should not be confused with the New England Glass Co., Cambridge, Massachusetts.

■ Carnival Glass ___________________________________ Carnival glass is what is fondly called mass-produced iridescent glassware. The term “carnival glass” has evolved through the years as glass collectors have responded to the idea that much of this beautiful glassware was made as giveaway glass at local carnivals and fairs. However, more of it was made and sold through the same channels as pattern glass and Depression glass. Some patterns were indeed giveaways, and others were used as advertising premiums, souvenirs, etc. Whatever the origin, the term “carnival glass” today encompasses glassware that is usually pattern molded and treated with metallic salts, creating that unique coloration that is so desirable to collectors. Early names for iridescent glassware, which early 20th century consumers believed to have all come from foreign manufacturers, include Pompeiian Iridescent, Venetian Art, and Mexican Aurora. Another popular early name was “Nancy Glass,” as some patterns were believed to have come from the Daum, Nancy, glassmaking area in France. This was at a time when the artistic cameo glass was enjoying great success. While the iridescent glassware being made by such European glassmakers as Loetz inﬂuenced the American market place, it was Louis Tiffany’s Favrile glass that really caught the eye of glass consumers of the early 1900s. It seems an easy leap to transform Tiffany’s shimmering glassware to something that could be mass produced, allowing what we call carnival glass today to become “poor man’s Tiffany.” Carnival glass is iridized glassware that is created by pressing hot molten glass into molds, just as pattern glass had evolved. Some forms are hand ﬁnished, while others are completely formed by molds. To achieve the marvelous iridescent colors, a process was developed where a liquid solution of metallic salts was put onto the still hot glass form after it was unmolded. As the liquid evaporated, a ﬁne metallic surface was left, which refracts light into wonderful colors. The name given to the iridescent spray by early glassmakers was “dope.” Many of the forms created by carnival glass manufacturers were accessories to the china American housewives so loved. By the early 1900s, consumers could ﬁnd carnival glassware at such popular stores as F. W. Woolworth and McCrory’s. To capitalize on the popular fancy for these colored wares, some other industries bought large quantities of carnival glass and turned them into “packers.” This term reﬂects the practice where baking powder, mustard, or other household products were packed into a special piece of glass that could take on another life after the original product was used. Lee Manufacturing Co. used iridized carnival glass as premiums for its baking powder and other products, causing some early carnival glass to be known by the generic term “Baking Powder Glass.” Classic carnival glass production began in the early 1900s and continued about twenty years, but no one really documented or researched production until the ﬁrst collecting wave struck in 1960. It is important to remember that carnival glasswares were sold in department stores as well as mass merchants, rather than through the general store often associated with a young America. Glassware by this time was mass-produced and sold in large quantities by such enterprising companies as Butler Brothers. When the economics of the country soured in the 1920s, those interested in purchasing iridized glassware were not spared. Many of the leftover inventories of glasshouses found their way to wholesalers who, in turn, sold the wares to those who offered the glittering glass as prizes at carnivals, fairs, circuses, etc. Possibly because this was the last venue people associated the iridized glassware with, it became known as “carnival glass.”

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COMPANY HISTORIES

GLASS

Much of vintage American carnival glassware was created in the Ohio valley, in the glasshouse-rich areas of Pennsylvania, Ohio, and West Virginia. The abundance of natural materials, good transportation, and skilled craftsmen that created the early American pattern glass manufacturing companies allowed many of them to add carnival glass to their production lines. Brief company histories of the major carnival glass manufacturers follow: Cambridge Glass Company (Cambridge) Cambridge Glass was a rather minor player in the carnival glass marketplace. Founded in 1901 as a new factory in Cambridge, Ohio, it focused on producing ﬁne crystal tablewares. What carnival glass it did produce was imitation cut-glass patterns. Colors used by Cambridge include marigold, as well as few others. Forms found in carnival glass by Cambridge include tablewares and vases, some with its trademark “Near-Cut.”

Fenton Art Glass Company (Fenton) Frank Leslie Fenton and his brothers, John W. Fenton and Charles H. Fenton, founded this glassmaker in 1905 in Martins Ferry, Ohio. Early production was of blanks, which the brothers soon learned to decorate themselves. They moved to a larger factory in Williamstown, WV. By 1907, Fenton was experimenting with iridescent glass, developing patterns and the metallic salt formulas that it became so famous for. Production of carnival glass continued at Fenton until the early 1930s. In 1970, Fenton began to re-issue carnival glass, creating new colors and forms as well as using traditional patterns. Colors developed by Fenton are numerous. The company developed red and Celeste blue in the 1920s; a translucent pale blue, known as Persian blue, is also one of its more distinctive colors, as is a light yellow-green color known as vaseline. Fenton also produced delicate opalescent colors including amethyst opalescent and red opalescent. Because the Fenton brothers learned how to decorate their own blanks, they also promoted the addition of enamel decoration to some of their carnival glass patterns. Forms made by Fenton are also numerous. What distinguishes Fenton from other glassmakers is its attention to detail and hand ﬁnishing processes. Edges are found scalloped, ﬂuted, tightly crimped, frilled, or pinched into a candy ribbon edge, also referred to as 3-in-1 edge.

Northwood Glass Company (Northwood) Englishman Harry Northwood founded the Northwood Glass Company. He developed his glass formulas for carnival glass, naming it “Golden Iris” in 1908. Northwood was one of the pioneers of the glass manufacturers who marked his wares. Marks range from a full script signature to a simple underscored capital N in a circle. However, not all Northwood glassware is marked. Colors that Northwood created were many. Collectors prefer its pastels, such as ice blue, ice green, and white. It is also known for several stunning blue shades. Forms of Northwood patterns range from typical table sets, bowls, and water sets to whimsical novelties, such as a pattern known as Corn, which realistically depicts an ear of corn.Millersburg Glass Company (Millersburg) John W. Fenton started the Millersburg Glass Company in September 1908. Perhaps it was the factory’s more obscure location or the lack of business experience by John Fenton, but the company failed by 1911. The factory was bought by Samuel Fair and John Fenton, and renamed the Radium Glass Company, but it lasted only a year. Colors produced by Millersburg are amethyst, green, and marigold. Shades such as blue and vaseline were added on rare occasions. The company is well known for its bright radium ﬁnishes. Forms produced at Millersburg are mostly bowls and vases. Pattern designers at Millersburg often took one theme and developed several patterns from it. Millersburg often used one pattern for the interior and a different pattern for the exterior.

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Dugan Glass Company (Dugan) The history of the Dugan Glass Company is closely related to Harry Northwood, whose cousin, Thomas Dugan, became plant manager at the Northwood Glass Co, in 1895. By 1904, Dugan and his partner W. G. Minnemayer bought the former Northwood factory and opened as the Dugan Glass Company. Dugan’s brother, Alfred, joined the company and stayed until it became the Diamond Glass Company in 1913. At this time, Thomas Dugan moved to the Cambridge Glass Company, later Duncan and Miller and ﬁnally Hocking, Lancaster. Alfred left Diamond Glass, too, but later returned. Understanding how the Northwood and Dugan families were connected helps collectors understand the linkage of these three companies. Their productions were similar; molds were swapped, re-tooled, etc. Colors attributed to Dugan and Diamond include amethyst, marigold, peach opalescent, and white. The company developed deep amethyst shades, some almost black. Forms made by both Dugan and Diamond mirrored what other glass companies were producing. The signiﬁcant contribution by Dugan and later Diamond were feet – either ball or spatula shapes. They are also known for deeply crimped edges.

Diamond Glass Company (Diamond) This company was started as the Dugan brothers departed the carnival glassmaking scene in 1913. However, Alfred Dugan returned and became general manager until his death in 1928. After a disastrous ﬁre in June of 1931, the factory closed. Imperial Glass Company (Imperial) Edward Muhleman and a syndicate founded the Imperial Glass Company at Bellaire, Ohio, in 1901, with production beginning in 1904. It started with pressed glass tableware patterns, as well as lighting ﬁxtures. Imperial also became a major exporter of glassware, including its brilliant carnival patterns. During the Depression, it ﬁled for bankruptcy in 1931, but was able to continue on. By 1962, it was again producing carnival glass patterns. By April 1985, the factory was closed and the molds sold. Colors made by Imperial include typical carnival colors such as marigold. It added interesting shades of green, known as helios, a pale ginger ale shade known as clambroth, and a brownish smoke shade. Forms created by Imperial tend to be functional, such as berry sets and table sets. Patterns vary from wonderful imitation cut glass patterns to detailed ﬂorals and naturalistic designs.

United States Glass Company (U.S. Glass)

Acorn vase, maybe U.S. Glass or possibly Millersburg, green, one of two known. ............................. $9,000

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In 1891, a consortium of 15 American glass manufacturers joined together as the United States Glass Company. This company was successful in continuing pattern glass production, as well as developing new glass lines. By 1911, it had begun limited production of carnival glass lines, often using existing pattern glass tableware molds. By the

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time a tornado destroyed the last of its glass factories in Glassport in 1963, it was no longer producing glassware. Colors associated with U.S. Glass are marigold, white, and a rich honey amber. Forms tend to be table sets and functional forms.

Started as the Westmoreland Speciality Company, Grapeville, Pennsylvania, in 1889, this company originally made novelties and glass packing containers, such as candy containers. Researchers have identiﬁed its patterns being advertised by Butler Brothers as early as 1908. Carnival glass production continued into the 1920s. In the 1970s, Westmoreland, too, begin to reissue carnival glass patterns and novelties. However, this ceased in February of 1996 when the factory burned. Colors originally used by Westmoreland were typical carnival colors, such as blue and marigold. Forms include tablewares and functional forms, containers, etc.

Good Luck plate, electric blue, 9”, made by Northwood .............................................. $3,500-$5,000 Outstanding example .................................. $8,000 These plates come in a variety of colors and some have a ribbed back, while some have a basketweave back.

From the 1890s until its closing in 1939, the Central Glass Works of Wheeling, West Virginia, produced colorless and colored handmade glass in all the styles then popular. Decorations from etchings with acid to hand-painted enamels were used. The popular “Depression” era colors of black, pink, green, light blue, ruby red and others were all produced. Two of its 1920s etchings are still familiar today, one named for the then President of the United States and the other for the Governor of West Virginia - these are the Harding and Morgan patterns. From high end Art glass to mass-produced plain barware tumblers, Central was a major glass producer throughout the period.

■ Consolidated ____________________________________ The Consolidated Lamp and Glass Company of Coraopolis, Pennsylvania, was founded in 1894. For a number of years it was noted for its lighting wares but also produced popular lines of pressed and blown tablewares. Highly collectible glass patterns of this early era include the Cone, Cosmos, Florette and Guttate lines. Lamps and shades continued to be good sellers, but in 1926 a new “art” line of molded decorative wares was introduced. This “Martelè” line was developed as a direct imitation of the ﬁne glasswares being produced by Renè Lalique of France, and many Consolidated patterns resembled their French counterparts. Other popular lines produced during the 1920s and 1930s were “Dancing Nymph,” the delightfully Art Deco “Ruba Rombic,” introduced in 1928, and the “Catalonian” line, which debuted in 1927 and imitated 17th-century Spanish glass. Although the factory closed in 1933, it was reopened under new management in 1936 and prospered through the 1940s. It ﬁnally closed in 1967. Collectors should note that many later Consolidated patterns closely resemble wares of other competing ﬁrms, especially the Phoenix Glass Company. Careful study is needed to determine the maker of pieces from the 1920-40 era. A book that will be of help to collectors is Phoenix & Consolidated Art Glass, 1926-1980, by Jack D. Wilson (Antique Publications, 1989).

Gold was added to glass batches to give this glass its color on reheating. It has been made by numerous glasshouses for years and is currently being reproduced. Both blown and molded articles were produced. A less expensive type of cranberry was made with the substitution of copper for gold.

■ Custard ________________________________________ “Custard glass,” as collectors call it today, came on the American scene in the 1890s, more than a decade after similar colors were made in Europe and England. The Sowerby ﬁrm of Gateshead-on-Tyne, England had marketed its patented “Queen’s Ivory Ware” quite successfully in the late 1870s and early 1880s. There were many glass tableware factories operating in Pennsylvania and Ohio in the 1890s and early 1900s, and the competition among them was keen. Each company sought to capture the public’s favor with distinctive colors and, often, hand-painted decoration. That is when “Custard glass” appeared on the American scene. The opaque yellow color of this glass varies from a rich, vivid yellow to a lustrous light yellow. Regardless of intensity, the hue was originally called “ivory” by several glass manufacturers then who also used superlative sounding terms such as “Ivorina Verde” and “Carnelian.” Most Custard glass contains uranium, so it will “glow” under a black light. The most important producer of Custard glass was certainly Harry Northwood, who ﬁrst made it at his plants in Indiana, Pennsylvania, in the late 1890s and, later, in his Wheeling, West Virginia, factory. Northwood marked some of his most famous patterns, but much early Custard is unmarked. Other key manufacturers include the Heisey Glass Co., Newark, Ohio; the Jefferson Glass Co., Steubenville, Ohio; the Tarentum Glass Co., Tarentum, Pennsylvania; and the Fenton Art Glass Co., Williamstown, West Virginia. Custard glass fanciers are particular about condition and generally insist on pristine quality decorations free from fading or wear. Souvenir Custard pieces with events, places and dates on them usually bring the best prices in the areas commemorated on them rather than from the specialist collector. Also, collectors who specialize in pieces such as cruets, syrups or salt and pepper shakers will often pay higher prices for these pieces than would a Custard collector Key reference sources include William Heacock’s Custard Glass from A to Z, published in 1976 but not out of print, and the book Harry Northwood: The Early Years, available from Glass Press. Heisey’s Custard is discussed in Shirley Dunbar’s Heisey Glass: The Early Years (Krause Publications, 2000), and Coudersport’s production is well-documented in Tulla Majot’s book Coudersport’s Glass 1900- 1904 (Glass Press, 1999). The recently formed Custard Glass Society holds a yearly convention and maintains a web site: www.homestead. com/custardsociety. - James Measell

■ Cut ____________________________________________ Cut glass most eagerly sought by collectors is American glass produced during the socalled “Brilliant Period” from 1880 to about 1915. Pieces listed below are by type of article in alphabetical order.

Stevens & Williams, baluster shape with teardrop stopper, amethyst with clear decoration, the body with ﬂoral and scrolling designs, a band of cross-cut diamonds on the base & the foot with a single band of beads, rare, 9" h. ...... $6,500

The country of Czechoslovakia, including the glassmaking region of Bohemia, was not founded as an independent republic until after the close of World War I in 1918. The new country soon developed a large export industry, including a wide range of brightly colored and hand-painted glasswares such as vases, tablewares and perfume bottles. Fine quality cut crystal or Bohemian-type etched wares were also produced for the American market. Some Bohemian glass carries faint acid-etched markings on the base. With the breakup of Czechoslovakia into two republics, the wares produced between World War I and II should gain added collector appeal. Far left: Bowl, 7" d., deep bulbous tapering body w/closed rim in the Inverted Thumbprint patt., pale blue w/applied yellow rigaree bands & prunts ................... $81 Left: Vase, 5 1/4" h., 7 1/2" d., footed squatty bulbous body w/a wide shoulder tapering to a wide ﬂat rim w/a deeply rolled-out ﬂaring rim, overall gold iridescence w/ﬂashes of purple, blue & green, signed. ............................ $300

■ Daum Nancy ____________________________________ Daum Nancy ﬁne glass, much of it cameo, was made by Auguste and Antonin Daum, who founded a factory in 1875 in Nancy, France. Most of their cameo and enameled glass was made from the 1890s into the early 20th century. Cameo glass is made by carving into multiple layers of colored glass to create a design in relief. It is at least as old as the Romans.

Daum Nancy Cameo and Enameled Vase. Square vase is decorated on each side with a cameo poppy, stem and leaves against a mottled yellow shading to orange background. Each poppy, in various stages of bloom, is enameled with bright orange ﬂowers and subtle green and brown stems and leaves. The foot of the vase is trimmed with a simple gold gilt line. Signed on the side in cameo “Daum Nancy” with the Cross of Lorraine. 4-3/4” t. ........... $4,200 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

씰Monumental Daum Nancy Cameo Vase. With decoration of swans and birch trees. Decoration adorns both from and back of the vase and is ﬁnished with enameled scene of islands and trees in the background. A superior example. Signed in enamel on the foot rim “Daum Nancy”. 25-1/4” t.$18,400 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Daum Nancy Snail Vase. Design of grapes, leaves and vines in autumn-colored vitreous glass against a mottled yellow, orange and brown background. The unusually large egg-shaped vase is ﬁnished with two applied glass snails (second view). Vase is signed on the side in cameo “Daum Nancy” with the Cross of Lorraine. 8-3/4” t. .....................................$10,925 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Daum Nancy Rain Scene Vase. Extremely rare, square form is enameled with earthen-hued trees with green grass and foliage in the background. This design is set against a gray, rose and green ground. The “rain” effect is created by scoring the glass down to its transparency. Signed “Daum Nancy” with the Cross of Lorraine. 4-1/4” h. ........................ $8,625 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Early Daum Cameo and Enameled Vase. Decorated with a large, central heavily enameled thistle and ﬂower with gold highlights. The ﬂower is set against an acid-etched background of creamy yellow shading to clear. The back and sides of the vase are decorated with all-over cameo thistle design with black enamel highlighting the stems and leaves with gold gilt thistle ﬂowers and red enamel highlights. The vase is ﬁnished with an enameled ﬂoral band at the lip. Signed on the underside in red enamel “Daum Nancy” with the Cross of Lorraine. 8” h. Some minor wear to gilt trim on lip. ..............................$5,750 Daum Nancy Cameo Vase. Acid etched and enameled vase with red berries and green leaves on a yellow to brown mottled background. Vividly colored. Signed on the side in enamel “Daum Nancy France” with the Cross of Lorraine. 15-1/4” h. ...................... $8,050 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Daum Nancy Cameo Vase. Padded and wheel-carved lavender and brown iris ﬂowers and buds on a frosted to chartreuse background together with acid-etched, deep purple leaves. Acid etched signature on the side “Daum Nancy” with the Cross of Lorraine. 12” h. ...................................... $7,200

Daum Nancy Cameo Vase. Single wheel-carved parrot tulip in shades of purple with wheel-carved leaves on a shaded clear to purple background with simulated hammered texture. Signed on the underside with engraved “Daum Nancy” with the Cross of Lorraine. 6” h. .............................................................. $6,000 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Daum Nancy Cameo and Applied Covered Jar. Rare example with one green-gold applied cabochon, one green applied insect and one red applied leaf on body with acid-etched maple leaves. The lid with applied and wheel-carved handle with red applied insect on top (second view). Signed on the underside with engraved and gilded “Daum Nancy” with the Cross of Lorraine. 4-1/2” h. ..................................... $9,200

Daum Nancy Cameo Vase. Acid-etched green daffodils on wheel-carved green to frosted to green background with simulated hammered texture and foot with opalescent interior. Signed on the underside with engraved “Daum Nancy” with the Cross of Lorraine. 7-3/4” h. ................................................... $6,000

■ Depression Glass _________________________________ Depression glass is the name of colorful glassware collectors generally associated with mass-produced glassware found in pink, yellow, crystal, or green in the years surrounding the Great Depression in America. The housewives of the Depression-era were able to enjoy the wonderful colors offered in this new inexpensive glass dinnerware because they received pieces of their favorite patterns packed in boxes of soap, or as premiums given at “dish night” at the local movie theater. Merchandisers, such as Sears & Roebuck and F. W. Woolworth, enticed young brides with the colorful wares that they could afford even when economic times were harsh. Because of advancements in glassware technology, Depression-era patterns were massproduced and could be purchased for a fraction of what cut glass or lead crystal cost. As one manufacturer found a pattern that was pleasing to the buying public, other companies soon followed with their adaptation of a similar design. Patterns included several design motifs, such as ﬂorals, geometrics, and even patterns that looked back to Early American patterns like Sandwich glass As America emerged from the Great Depression and life became more leisure-oriented again, new glassware patterns were created to reﬂect the new tastes of this generation. More elegant shapes and forms were designed, leading to what is sometimes called “Elegant Glass.” Today’s collectors often include these more elegant patterns when they talk about Depression-era glassware. A time line that highlights the beginnings, major events, and endings of American glassware manufacturers is included in this edition to show the scope of the companies that helped produce glassware in this era. Also included in this edition is a color time line that is designed to help identify colors and when they were manufactured. Combining all these clues, along with the pattern identiﬁcation sketches, will help determine when a pattern was made, by whom, when, and in what colors. Depression-era glassware is one of the best-researched collecting areas available to the American marketplace. This is due in large part to the careful research of several people, including Hazel Marie Weatherman, Gene Florence, Barbara Mauzy, Carl F. Luckey, and Kent Washburn. Their books are held in high regard by researchers and collectors today Regarding values for Depression glass, rarity does not always equate to a high dollar amount. Some more readily found items command lofty prices because of high demand or other factors, not because they are necessarily rare. As collectors’ tastes range from the simple patterns to the more elaborate patterns, so does the ability of their budget to invest in inexpensive patterns to multi-hundreds of dollars per form patterns. To maintain the ﬁne tradition of extensive descriptions typically found in Warman’s price guides, as much information as possible has been included as far as sizes, shapes, colors, etc. Whenever possible, the original manufacturer’s language was maintained. A glossary is included to help you identify some of those puzzling names. As the patterns evolved, sometimes other usage names were assigned to pieces. Color names are also given as the manufacturers originally named them. The Depression-era glassware researchers have many accurate sources, including company records, catalogs, magazine advertisements, oral and written histories from sales staff, factory workers, etc. The dates included in the introductions are approximate as are some of the factory locations. When companies had more than one factory, usually only the main ofﬁce or factory is listed. For more information on Depression glass, see Warman’s Depression Glass Identiﬁcation and Price Guide, 5th Edition, or Warman’s Depression Glass Field Guide, 4th Edition, both by Ellen T. Schroy

Duncan & Miller Glass Company, a successor ﬁrm to George A. Duncan & Sons Company, produced a wide range of pressed wares and novelty pieces during the late 19th century and into the early 20th century. During the Depression era and after, they continued making a wide variety of more modern patterns, including mold-blown types, and also introduced a number of etched and engraved patterns. Many colors, including opalescent hues, were produced during this era, and especially popular today are the graceful swan dishes they produced in the Pall Mall and Sylvan patterns. The numbers after the pattern name indicate the original factory pattern number. The Duncan factory was closed in 1955.

The Fenton Art Glass Co. was founded in 1905 by Frank L. Fenton and his brother, John W., in Martins Ferry, Ohio. They initially sold hand-painted glass made by other manufacturers, but it wasn’t long before they decided to produce their own glass. The new Fenton factory in Williamstown, W.V., opened on Jan. 2, 1907. From that point on, the company expanded by developing unusual colors and continued to decorate glassware in innovative ways. Two more brothers, James and Robert, joined the ﬁrm. But despite the company’s initial success, John W. left to establish the Millersburg Glass Co. of Millersburg, Ohio, in 1909. The ﬁrst months of the new operation were devoted to the production of crystal glass only. Later iridized glass was called “Radium Glass.” After only two years, Millersburg ﬁled for bankruptcy. Fenton’s iridescent glass had a metallic luster over a colored, pressed pattern, and was sold in dime stores. It was only after the sales of this glass decreased and it was sold in bulk as carnival prizes that it came to be known as carnival glass. Fenton became the top producer of carnival glass, with more than 150 patterns. The quality of the glass, and its popularity with the public, enabled the new company to be proﬁtable through the late 1920s. As interest in carnival subsided, Fenton moved on to stretch glass and opalescent patterns. A line of colorful blown glass (called “off-hand” by Fenton) was also produced in the mid-1920s. During the Great Depression, Fenton survived by producing functional colored glass tableware and other household items, including water sets, table sets, bowls, mugs, plates, perfume bottles and vases. Restrictions on European imports during World War II ushered in the arrival of Fenton’s opaque colored glass, and the lines of “Crest” pieces soon followed. In the 1950s, production continued to diversify with a focus on Milk-glass, particularly in Hobnail patterns. In the third quarter of Fenton’s history, the company returned to themes that had proved popular to preceding generations, and began adding special lines, such as the Bicentennial series. Innovations included the line of Colonial colors that debuted in 1963, including Amber, Blue, Green, Orange and Ruby. Based on a special order for an Ohio museum, Fenton in 1969 revisited its early success with “Original Formula Carnival Glass.” Fenton also started marking its glass in the molds for the ﬁrst time. The star of the 1970s was the yellow and blushing pink creation known as Burmese, which remains popular today. This was followed closely by a menagerie of animals, birds, and children. In 1975, Robert Barber was hired by Fenton to begin an artistin-residence program, producing a limited line of art-glass vases in a return to the off-hand, blown-glass creations of the mid-1920s. Shopping at home via television was a recent phenomenon in the late 1980s when the “Birthstone Bears” became the ﬁrst Fenton product to appear on QVC (established in 1986 by Joseph Segel, founder of The Franklin Mint). In the latter part of the century, Fenton established a Web site—www. fentonartglass.com—as a user-friendly online experience where collectors could learn about catalog and gift shop sales, upcoming events and the history of the company. In August 2007, Fenton discontinued all but a few of its more popular lines. For more information on Fenton Art Glass, see Warman’s Fenton Glass Identiﬁcation and Price Guide, 2nd edition, by Mark F. Moran.

Three candleholders, all 1920s to mid-1930s, from left: Dolphin in Ruby, 3-1/2” h ......................................................................... $40+ Velva Rose and Celeste Blue, 2-3/4” h.................................$35+ each

7/22/11 8:31 AM

Fenton Art Glass

485

GLASS Celeste Blue stretch-glass covered jug and tumbler with cobalt handles, base and coaster, part of a lemonade set that would have included six tumblers, 1920s; jug, 11-1/4” h with base; tumbler, 5” h not including coaster, which is 3-1/4” diameter ........................................... $700+ for complete set Black (Ebony) fan vase, 1926, with thistles in an encrusted pattern done by Lotus Glass Decorating Co., Barnsville, Ohio, 8” h, rare. .......................... $250+

Fenton Carnival Glass The golden era of carnival glass was from about 1905 to the mid1920s. It is believed that by 1906 the ﬁrst cheap, iridized glass to rival the expensive Tiffany creations was in production. Carnival glass was originally made to bridge a gap in the market by providing ornamental wares for those who couldn’t afford to buy the fashionable, iridized pieces popular at the height of the art nouveau era. It wasn’t until much later that it acquired the name “carnival glass.” When it fell from favor, it was sold off cheaply to carnivals and offered as prizes. Fenton made about 150 patterns of carnival glass. Here are some of the basic colors: Amethyst: A purple color ranging from quite light to quite dark Aqua opalescent: Ice blue with a milky (white or colored) edge Black amethyst: Very dark purple or black in color Clam broth: Pale ginger ale color, sometimes milky Cobalt blue (sometimes called royal blue): A dark, rich blue Green: A true green, not pastel Marigold: A soft, golden yellow Pastel colors: A satin treatment in white, ice blue, ice green Peach opalescent: Marigold with a milky (white or colored) edge Black amethyst vase Red: A rich red, rare in April Showers, 12” Vaseline (Fenton called it topaz): Clear yellow/yellow-green glass h. ............ $80- $150

씰Chocolate Cat, available exclusively to dealers, 2005, signed by George Fenton, 3-1/2” l. ..... $35+

7/22/11 8:37 AM

Fostoria

497

■ Fostoria ________________________________________ Fostoria Glass company, founded in 1887, produced numerous types of ﬁne glassware over the years. Its factory in Moundsville, West Virginia, closed in 1986.

■ Gallé __________________________________________ Gallé glass was made in Nancy, France, by Emile Gallé, a founder of the Nancy School and a leader in the Art Nouveau movement in France. Much of his glass, both enameled and cameo, is decorated with naturalistic motifs. The ﬁnest pieces were made in the last two decades of the 19th century and the opening years of the 20th. Pieces marked with a star preceding the name were made between 1904, the year of Gallé’s death, and 1914.

Numerous types of ﬁne glass were made by A.H. Heisey & Co., Newark, Ohio, from 1895. The company’s trademark, an H enclosed within a diamond, has become known to most glass collectors. The company’s name and molds were acquired by Imperial Glass Co., Bellaire, Ohio, in 1958, and some pieces have been reissued. The glass listed below consists of miscellaneous pieces and types.

Fused glass, an “old craft for modern tastes” enjoyed a mid-20th century revival through the work of Chicago-based artists Frances and Michael Higgins of the Higgins Glass Studio. Although known for thousands of years, fusing had, by the 1940s, been abandoned in favor of glassblowing. A meticulous craft, fusing can best be described as the creation of a “glass sandwich.” A design is either drawn with colored enamels or pieced with glass segments on a piece of enamel-coated glass. Another piece of enameled glass is placed over this. The “sandwich” is then placed on a mold and heated in a kiln, with the glass “slumping” to the shape of the mold. When complete, the interior design is fused between the outer glass layers. Additional layers are often utilized, accentuating the visual depth. Sensing that fused glass was a marketable commodity, the Higginses opened their studio in 1948 and applied the fusing technique to a wide variety of items: tableware such as bowls, plates, and servers; housewares, ranging from clocks and lamps to ashtrays and candleholders; and purely decorative items, such as mobiles and jewelry. Unlike many of their contemporaries, the Higginses received national exposure thanks to an association with Chicago industrial manufacturer Dearborn Glass Company. This collaboration, lasting from 1957 through 1964, resulted in the mass marketing of “higginsware” worldwide. Since nearly every piece carried the lower-case signature “higgins,” name recognition was both immediate and enduring. The Dearborn demand for new Higgins pieces resulted in more than 75 identiﬁable production patterns with such buyer-enticing names as “Stardust,” “Arabesque,” and “Barbaric Jewels.” In 1965, the Higginses brieﬂy moved their base of operations to Haeger Potteries before opening their own studio in Riverside, Illinois, where it has been located since 1966. Although Michael Higgins died in 1999 and Frances Higgins in 2004, the Studio today continues under the leadership of longtime artistic associates Louise and Jonathan Wimmer. New pieces celebrate and expand on the traditions and techniques of the past. Higgins pieces created from 1948 until 1957 are engraved on the reverse with the signature “higgins” or the artist’s complete name. A raised “dancing man” logo was added in 1951. Pieces created at Dearborn or Haeger (1957-65) bear a gold “higgins” signature on the surface or a signature in the colorway. The marking since 1966 has been an engraved “higgins” on the reverse of an object, with the occasional addition of the artist’s name. Pieces produced since the death of Frances Higgins are signed “higgins studio.” Once heralded as “an exclamation point in your decorating scheme,” Higgins glass continues, nearly 60 years since its inception. The company is located at 33 East Quincy Street, Riverside, IL 60546 (708-447-2787), www.higginsglass.com. Price ranges given are general estimates covering all available patterns produced at Dearborn Glass Company and Haeger Potteries (1957-1965). The low end of the scale applies to the most commonly found patterns (e.g., “Mandarin,” “Siamese Purple”), the upper end to those found less frequently (e.g., “Gemspread,” “Carousel”). Far left: Bowl, 9" d., round, controlled bubble pattern, green & yellow, by Frances Higgins .................................. $700-750 Left: Clock, wall or table, gold & black, General Electric, 1954, 8" d. .............................. $900-1,000 Ashtray, circular, scalloped edge, Stardust patt. only, 11 1/2" d. ............................... $150-200 Candleholders, Petal patt., 4 1/2" h., pr. ........... $150-225

From 1902 until 1984 Imperial Glass of Bellaire, Ohio, produced hand made glass. Early pressed glass production often imitated cut glass and may bear the raised “NUCUT” mark in the interior center. In the second decade of the 1900s Imperial was one of the dominant manufacturers of iridescent or Carnival glass. When glass collecting gained popularity in the 1970s, Imperial again produced Carnival and a line of multicolored slag glass. Imperial purchased molds from closing glass houses and continued many lines popularized by others including Central, Heisey and Cambridge. These reissues may cause confusion but they were often marked.

René Jules Lalique was born on April 6,1860, in the village of Ay, in the Champagne region of France. In 1862, his family moved to the suburbs of Paris. In 1872, Lalique began attending College Turgot where he began studying drawing with Justin-Marie Lequien. After the death of his father in 1876, Lalique began working as an apprentice to Louis Aucoc, who was a prominent jeweler and goldsmith in Paris. Lalique moved to London in 1878 to continue his studies. He spent two years attending Sydenham College, developing his graphic design skills. He returned to Paris in 1880 and worked as an illustrator of jewelry, creating designs for Cartier, among others. In 1884, Lalique’s drawings were displayed at the National Exhibition of Industrial Arts, organized at the Louvre. At the end of 1885, Lalique took over Jules Destapes’ jewelry workshop. Lalique’s design began to incorporate translucent enamels, semiprecious stones, ivory, and hard stones. In 1889, at the Universal Exhibition in Paris, the jewelry ﬁrms of Vever and Boucheron included collaborative works by Lalique in their displays. In the early 1890s, Lalique began to incorporate glass into his jewelry, and in 1893 he took part in a competition organized by the Union Centrale des Arts Decoratifs to design a drinking vessel. He won second prize. Lalique opened his ﬁrst Paris retail shop in 1905, near the perfume business of François Coty. Coty commissioned Lalique to design his perfume labels in 1907, and he also created his ﬁrst perfume bottles for Coty. In the ﬁrst decade of the 20th century, Lalique continued to experiment with glass manufacturing techniques, and mounted his ﬁrst show devoted entirely to glass in 1911. During World War I, Lalique’s ﬁrst factory was forced to close, but the construction of a new factory was soon begun in Wingen-surModer, in the Alsace region. It was completed in 1921, and still produces Lalique crystal today. In 1925, Lalique designed the ﬁrst “car mascot” (hood ornament) for Citroën, the French automobile company. For the next six years, Lalique would design 29 models for companies such as Bentley, Bugatti, Delage, Hispano-Suiza, Rolls Royce, and Voisin. Lalique’s second boutique opened in 1931, and this location continues to serve as the main Lalique showroom today. René Lalique died on May 5, 1945, at the age of 85. His son, Marc, took over the business at that time, and when Marc died in 1977, his daughter, Marie-Claude Lalique Dedouvre, assumed control of the company. She sold her interest in the ﬁrm and retired in 1994. For more information on Lalique, see Warman’s Lalique Identiﬁcation and Price Guide by Mark F. Moran. (In the descriptions of Lalique pieces that follow, you will ﬁnd notations like this: “M p. 478, No. 1100.” This refers to the page and serial numbers found in René Lalique, maîtreverrier, 1860-1945: Analyse de L’oeuvre et Catalogue Raisonné, by Félix Marcilhac, published in 1989 and revised in 1994. Printed entirely in French, this book of more than 1,000 pages is the deﬁnitive guide to Lalique’s work, and listings from auction catalogs typically cite the Marcilhac guide as a reference. A used copy can cost more than $500. Copies in any condition are extremely difﬁcult to ﬁnd, but collectors consider Marcilhac’s guide to be the bible for Lalique.)

◆ Cobalt blue is one of the most popular glass colors because of its rich, deep hue. It has been a favorite for more than a century and because it coordinates so well with various decorating schemes, will likely remain one of collectors’ top choices for the foreseeable future.

■ Libbey _________________________________________ In 1878, William L. Libbey obtained a lease on the New England Glass Company of Cambridge, Massachusetts, changing the name to the New England Glass Works, W.L. Libbey and Son, Proprietors. After his death in 1883, his son, Edward D. Libbey, continued to operate the company at Cambridge until 1888, when the factory was closed. Edward Libbey moved to Toledo, Ohio, and set up the company subsequently known as Libbey Glass Co. During the 1880s, the ﬁrm’s master technician, Joseph Locke, developed the now much desired colored art glass lines of Agata, Amberina, Peach Blow and Pomona. Renowned for its cut glass of the Brilliant Period (see CUT GLASS), the company continues in operation today as Libbey Glassware, a division of Owens-Illinois, Inc.

■ Mary Gregory ____________________________________ Glass enameled in white with silhouette-type ﬁgures, primarily of children, is now termed “Mary Gregory” and was attributed to the Boston and Sandwich Glass Company. However, recent research has proven conclusively that this was not decorated by Mary Gregory, nor was it made at the Sandwich plant. Miss Gregory was employed by Boston and Sandwich Glass Company as a decorator; however, records show her assignment was the painting of naturalistic landscape scenes on larger items such as lamps and shades, but never the charming children for which her name has become synonymous. Further, in the inspection of fragments from the factory site, no paintings of children were found. It is now known that all wares collectors call “Mary Gregory” originated in Bohemia beginning in the late 19th century and were extensively exported to England and the United States well into this century. For further information, see The Glass Industry in Sandwich, Volume #4 by Raymond E. Barlow and Joan E. Kaiser, and the book Mary Gregory Glassware, 1880-1900 by R. & D. Truitt. Right: Pitcher, 11" h., tankardtype, gently tapering cylindrical green body w/an arched rim & pinched spout, applied long clear handle, decorated across the front in white enamel w/the standing ﬁgure of a Victorian girl in a garden, late 19th c. ......... $125-150 Far right: Vases, 8" h., cylindrical ring-type, mottled white & clear cased in light blue, white enameled ﬁgure of a Victorian girl in a garden, Muhlhaus factory, Bohemia, late 19th c., facing pr. $431 Below: Dress box w/hinged cover, squatty bulbous Prussian blue optic-ribbed base decorated w/a band of white enamel dots, the rim & cover w/brass ﬁttings, the low domed cover decorated w/a white enamel scene of a young Victorian boy in a garden holding a butterﬂy net, colored enamel face & hands, late 19th c., 4 1/4" d., 2 3/8" h. .......................... $138

The McKee name has been associated with glass production since 1834, ﬁrst producing window glass and later bottles. In the 1850s a new factory was established in Pittsburgh, Pennsylvania, for production of ﬂint and pressed glass. The plant was relocated in Jeanette, Pennsylvania, in 1888 and operated there as an independent company almost continuously until 1951, when it sold out to Thatcher Glass Manufacturing Company. Many types of collectible glass were produced by McKee through the years including Depression, Pattern, Milk Glass and a variety of utility kitchenwares. See these categories for additional listings.

Though invented in Venice in the 1500s, the opaque glass commonly known as milk glass was most popular at the end of the 19th century. American manufacturers such as Westmoreland, Fenton, Imperial, Indiana, and Anchor Hocking produced it as an economical substitute for pricey European glass and china. After World War I, the popularity of milk glass waned, but production continued. Milk glass made during the 1930s and 1940s is often considered of lower quality than other periods because of the economic Depression and wartime manufacturing difﬁculties. Milk glass has proven to be an “evergreen” collectible. When asked about milk glass, Warman’s Depression Glass author and expert Ellen Schroy said, “Milk glass is great. I’m seeing a new interest in it.” “Milk glass” is a general term for opaque colored glass. Though the name would lead you to believe it, white wasn’t the only color produced. “Colored milk glasses, such as opaque black, green, or pink usually command higher prices,” Schroy advises. “Beware of reproductions in green and pink. Always question a milk glass pattern found in cobalt blue. (Swirled colors are a whole other topic and very desirable.)” The number of patterns, forms, and objects made is only limited by the imagination. Commonly found milk glass items include dishes – especially the ever-popular animals on “nests” – vases, dresser sets, ﬁgurines, lanterns, boxes, and perfume bottles. “The milk glass made by Westmoreland, Kemple, Fenton, etc., was designed to be used as dinnerware,” Schroy explains. “Much of the milk glass we see at ﬂea markets, antique shows, and shops now is coming out of homes and estates where these 1940-1950s era brides are disposing of their settings.” Schroy follows up with some practical advice: “Care should be taken when purchasing, transporting, and using this era of milk glass as it is very intolerant of temperature changes. Don’t buy a piece outside at the ﬂea market unless you can protect it well for its trip to your home. And when you get it home, leave it sit for several hours so its temperature evens out to what your normal home temperature is. It’s almost a given if you take a piece of cold glass and submerge it into a nice warm bath, it’s going to crack. And never, ever expose it to the high temps of a modern dishwasher.” So how do you tell the old from the new? Schroy says many times, getting your hands on it is the only way to tell: “Milk glass should have a wonderful silky texture. Any piece that is grainy is probably new.” She further reveals, “The best test is to look for ‘the ring of ﬁre,’ which will be easy to see in the sunlight: Hold the piece of milk glass up to a good light source (I prefer natural light) and see if there is a halo of iridescent colors right around the edge, look for reds, blues and golds. This ring was caused by the addition of iridized salts into the milk glass formula. If this ring is present, it’s probably an old piece.” She does caution, however, that 1950s-era milk glass does not have this tell-tale ring. Old milk glass should also carry appropriate marks and signs, such as the “ring of ﬁre”; appropriate patterns for speciﬁc makers are also something to watch for, such as Fenton’s “Hobnail” pattern. Collectors should always check for condition issues such as damage and discoloration. According to Schroy, there is no remedy for discolored glass, and cracked and chipped pieces should be avoided, as they are prone to further damage. Karen Knapstein, Print Editor for Antique Trader magazine

ONLINE RESOURCES: Milkglass.org is an informational website. It includes historical and identiﬁcation details, in addition to a collection of categorized links to milk glass items for sale on the Internet (primarily eBay). The National Westmoreland Glass Collectors Club’s mission is to promote the appreciation for the artistry and craftsmanship of Westmoreland glass and to continue the preservation of this important part of American history. (westmorelandglassclub.org)

Three American milk glass animals on nest; all with glass eyes, including opaque blue Westmoreland lion and eagle, and Atterbury white cat on rectangular dish, 7” high. .................................................. $90

Collection of eight nesting chickens and roosters in milk glass and slag glass; set includes four rooster tops, four hen tops, four with blue and white decoration, no markings.. ........................................... $48

Set of two covered dishes by Westmoreland, the ﬁrst a two-part covered dish, a rabbit with ruby eyes, 5” high x 4-1/2” x 9-1/4”), and the other a two-part dish, a swan with raised wings setting on a woven nest, 6” x 6” x 10-3/4”; swan is marked with Westmoreland logo of W with superimposed G; rabbit is unmarked but likely Westmoreland but is marked “Pat’d March 9-1888” on bottom; both date to the ﬁrst half of the 20th century. .................................................. $90

Three souvenir milk glass dishes relating to the Spanish American War, including the Battleship Maine (5” x 4” x 8”), Commodore Dewey (4-3/4” high x 3-1/4” x 7” long) and “The American Hen” (4-1/2” x 3-3/4” x 6”) which is the American Eagle with outspread wings protecting three eggs: “Porto Rico,” “Cuba” and “Philippines.” All date to the ﬁrst quarter of the 20th century. ....................$50

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530

Morgantown (Old Morgantown)

GLASS

■ Morgantown (Old Morgantown) _____________________ Morgantown, West Virginia, was the site where a glass ﬁrm named the Morgantown Glass Works began in the late 19th century, but the company reorganized in 1903 to become the Economy Tumbler Company, a name it retained until 1929. By the 1920s the ﬁrm was producing a wider range of better quality and colorful glass tablewares; to reﬂect this fact, it resumed its earlier name, Morgantown Glass Works, in 1929. Today its many quality wares of the Depression era are growing in collector demand.

■ Mt. Washington __________________________________ A wide diversity of glass was made by the Mt. Washington Glass Company of New Bedford, Massachusetts, between 1869 and 1900. It was succeeded in 1900 by the Pairpoint Corporation. Miscellaneous types are listed below.

Nailsea was another glassmaking center in England where a variety of wares similar to those from Bristol, England were produced between 1788 and 1873. Today most collectors think of Nailsea primarily as a glass featuring swirls and loopings, usually white, on a clear or colored ground. This style of glass decoration, however, was not restricted to Nailsea and was produced in many other glasshouses, including some in America.

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534

New Martinsville

GLASS

■ New Martinsville _________________________________ The New Martinsville Glass Mfg. Co. opened in New Martinsville, West Virginia, in 1901 and during its ﬁrst period of production came out with a number of colored opaque pressed glass patterns. Also developed was an art glass line named “Muranese,” which collectors refer to as “New Martinsville Peach Blow.” The factory burned in 1907 but reopened later that year and began focusing on production of various clear pressed glass patterns, many of which were then decorated with gold or ruby staining or enameled decoration. After going through receivership in 1937, the factory again changed the focus of its production to more contemporary glass lines and ﬁgural animals. The ﬁrm was purchased in 1944 by The Viking Glass Company (later Dalzell-Viking).

Presently, this is one of the most popular areas of glass collecting. The opalescent effect was attained by adding bone ash chemicals to areas of an item while still hot and reﬁring the object at tremendous heat. Both pressed and mold-blown patterns are available to collectors and we distinguish the types in our listing below. Opalescent Glass from A to Z by the late William Heacock is the deﬁnitive reference book for collectors.

■ Pairpoint ________________________________________ Originally organized in New Bedford, Massachusetts, in 1880 as the Pairpoint Manufacturing Company on land adjacent to the famed Mount Washington Glass Company, this company ﬁrst manufactured silver and plated wares. In 1894, the two famous factories merged as the Pairpoint Corporation and enjoyed great success for more than forty years. The company was sold in 1939 to a group of local businessmen and eventually bought out by one of the group who turned the management over to Robert M. Gundersen. Subsequently, it operated as the Gundersen Glass Works until 1952 when, after Gundersen’s death, the name was changed to Gundersen-Pairpoint. The factory closed in 1956. Subsequently, Robert Bryden took charge of this glassworks, at ﬁrst producing glass for Pairpoint abroad and eventually, in 1970, beginning glass production in Sagamore, Massachusetts. Today the Pairpoint Crystal Glass Company is owned by Robert and June Bancroft. They continue to manufacture ﬁne quality blown and pressed glass.

Though it has never been ascertained whether glass was ﬁrst pressed in the United States or abroad, the development of the glass pressing machine revolutionized the glass industry in the United States, and this country receives the credit for improving the method to make this process feasible. The ﬁrst wares pressed were probably small ﬂat plates of the type now referred to as “lacy,” the intricacy of the design concealing ﬂaws. In 1827, both the New England Glass Co., Cambridge, Mass., and Bakewell & Co., Pittsburgh, took out patents for pressing glass furniture knobs; soon other pieces followed. This early pressed glass contained red lead, which made it clear and resonant when tapped (ﬂint.) Made primarily in clear, it is rarer in blue, amethyst, olive green and yellow. By the 1840s, early simple patterns such as Ashburton, Argus and Excelsior appeared. Ribbed Bellﬂower seems to have been one of the earliest patterns to have had complete sets. By the 1860s, a wide range of patterns was available. In 1864, William Leighton of Hobbs, Brockunier & Co., Wheeling, West Virginia, developed a formula for “soda lime” glass that did not require the expensive red lead for clarity. Although “soda lime” glass did not have the brilliance of the earlier ﬂint glass, the formula came into widespread use because glass could be produced cheaply. An asterisk (*) indicates a piece which has been reproduced.

■ Quezal _________________________________________ In 1901, Martin Bach and Thomas Johnson, who had worked for Louis Tiffany, opened a competing glassworks in Brooklyn, New York. The Quezal Art Glass and Decorating Co. produced wares closely resembling those of Tiffany until the plant's closing in 1925.

■ Sandwich _______________________________________ Numerous types of glass were produced at The Boston & Sandwich Glass Works in Sandwich, Massachusetts, on Cape Cod, from 1826 to 1888. Those listed here represent a sampling. Also see BLOWN THREE MOLD, and LACY. All pieces are pressed glass unless otherwise noted. Numbers after salt dips refer to listings in Pressed Glass Salt Dishes of the Lacy Period, 1825-1850, by Logan W. and Dorothy B. Neal.

Tiffany & Co. was founded by Charles Lewis Tiffany (1812-1902) and Teddy Young in New York City in 1837 as a “stationery and fancy goods emporium.” The store initially sold a wide variety of stationery items, and operated as Tiffany, Young and Ellis in lower Manhattan. The name was shortened to Tiffany & Co. in 1853, and the ﬁrm’s emphasis on jewelry was established. The ﬁrst Tiffany catalog, known as the “Blue Book,” was published in 1845. It is still being published today. In 1862 Tiffany & Co. supplied the Union Army with swords, ﬂags and surgical implements. Charles’ son, Louis Comfort Tiffany (1848-1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. Louis established Tiffany Glass Co. in 1885, and in 1902 it became known as the Tiffany Studios. America’s outstanding glass designer of the Art Nouveau period produced glass from the last quarter of the 19th century until the early 1930s. Tiffany revived early techniques and devised many new ones.

Tiffany Studios Blown-Glass Candelabra. Six-arm candelabra is made of bronze and has patina ﬁnish of brown with hints of green and red. From the oval-shaped platform base arises a single center stem with three candle cups on either side. Each of these candle cups has green blown-glass ornamentation and a bobeche. In the center stem of the candlestick rests a Tiffany snuffer that is concealed when in place. Signed on the underside “Tiffany Studios New York 1648”. 15” x 21”. One tight hairline to blown glass and one blown glass insert is slightly different color.................. $6,900 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

씱Tiffany Studios Fireball Lamp. One of two known examples. Exceptional early Tiffany Studios leaded orb shade has ﬂame design in mottled red and orange glass against a textured green and brown swirled background. The ﬂames are made up of numerous types of glass, including heavily rippled to lightly textured, giving the effect of dancing ﬂames when lit. The shade rests atop a bronze saucer base with single socket. Base is ﬁnished with rich brown patina with green highlights. Shade and base are unsigned. Shade is 12” diameter. Overall 15” h. Few tight hairlines. ........................................................$48,875 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Tiffany Studios Lemon Leaf Table Lamp. Heavily mottled apple-green background glass with heavily mottled maize-colored lemon-leaf band. Shade is signed “Tiffany Studios New York 1470”. Base is signed “Tiffany Studios New York 531”. Original patina on base and shade. Shade is 18” diameter. Overall 25-1/2” h. Some tight hairlines primarily in lower border with no missing glass. Slight lead separation in one small area where lemon-leaf band meets lower geometric bands. Slight dent in heat cap. ....$17,250

Tiffany Reactive Glass Shade. Green and orange ﬂame design extending from the foot to near the rim. The smokey gray body of the shade has a slightly swirling rib running vertically. When shade is lit in a darkened room, it appears like a dancing ﬂame. Shade is unsigned. 5” t x 2-1/4” ﬁtter. $4,025

Tiffany Studios Lily & Prism Chandelier. With six gold lily shades and 19 prisms in colors of oyster, gold, amber and green with a deep iridescence over the lilies and complimentary prisms. All of this Tiffany glass surrounds a decorated stalactite Tiffany shade with deep vertical ribbing and a hooked-feather pattern. The shade is supported by a bronze collar, three chains and hooks. The shades are supported by a Moorish-style bronze hanging ﬁxture with openwork at the top, medallions of roping above six lily shade holders, nineteen prism hooks and a single stem for the stalactite shade. Further accenting this lamp, alternating between the prisms, are 19 beaded chains that end in bronze balls. This entire lamp is supported by a bronze decorated ceiling cap, chain and S hook. Stalactite shade is signed “S323” and one lily shade is signed “L.C.T. Favrile” and another is signed “L.C.T.” and the remainder are unsigned. Overall 42” l. Some parts are authentic while other parts are exact replications of Tiffany Studios hardware. Three lily shades have broken ﬁtter rims, one has roughness to ﬁtter rim. Stalactite shade has chips to ﬁtter rim that are concealed when in place. All prisms either have chips or are cracked. .......... $32,775 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Tiffany Studios Favrile Desk Lamp. Gold Favrile shade with rainbow iridescent ﬁnish with stretched edge. The cased white-lined shade is supported by a three-arm, leafdecorated base with a statuary ﬁnish. The lamp is completed with a top cap in a patina ﬁnish. Shade is signed on the ﬁtter “L.C.T. Favrile” and base is signed on the underside “Tiffany Studios New York 426”. Shade is 7” diameter. Overall 14” t. .................. $4,200

Tiffany Studios Red Tulip Table Lamp. The shade depicts the tulip ﬂower in every stage of bloom (second view). The colors used encompass the entire range of the red family from pink to purple. Some blossoms are entirely constructed of the softer colors, while others use striations of light, medium and dark to give a three-dimensional effect. There are other blossoms that used only the deepest colors and represent the ﬂower in its later stage of bloom. This tulip pattern also shows the foliage in most every color of green. Glass used in this shade is also of a wide variety from striated to cat’s paw to rippled and ﬁnally granular. The shade is completed with three geometric bands of rippled glass in earthen hues of ﬁery orange with hints of green. The shade is supported by a mock-turtleback base. This three-socket base is complete with riser, wheel and top cap all in a rich patina ﬁnish. Shade is signed “Tiffany Studios New York 1596”. Base is signed “Tiffany Studios New York 587”. Shade is 18” diameter. Overall 22-1/2” h. A few tight hairlines in shade. Patina has been enhanced on shade and base. .. $109,250 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

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Tiffany

GLASS

560

Tiffany Studios Blue Favrile Vase. Classic Egyptian form with elongated neck and squared shoulder. Vase begins with a platinum iridescence over the neck area that recedes into a medium blue and a cobalt blue at the foot. Signed “L.C. Tiffany Inc. Favrile X1421024”. 5-3/4” h. Tiny spot of missing iridescence on shoulder. ................................... $920 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

Tiffany Studios Damascene Table Lamp. Green Favrile shade with a damascene-wave pattern decoration in gold shading to platinum having eight vertical ribs, which give it highlights of blue. The cased lined shade is supported by a patinated single-socket, threearm bronze base with elongated rib decoration over an ornate rootstyle foot resting on four ball feet. Lamp is completed with a bronze heat cap. Shade is signed on the ﬁtter rim “L.C.T.”. Base is signed “Tiffany Studios New York 431”. Shade is 9-1/2” diameter x 3-3/4” ﬁtter. Overall 19-1/2” t. ... $6,612 Photo courtesy James D. Julia Auctioneers, Fairﬁeld, Maine; www.JuliaAuctions.com

씰Tiffany Stalactite Hanger. Shade has gold iridescent hooked-feather design extending from the bottom of the shade. There is an additional hooked-feather design descending from the ﬁtter. Design is set against a lighter gold iridescent background of the vertically ribbed body of the shade. Interior of the shade has a light chartreuse color. Shade is unsigned and numbered “L2400”. It is suspended from three chains attached to hooks on a center light post which terminates to a ceiling cap having beaded rim. The bronze replacement hardware is ﬁnished in a rich brown patina with strong red and green highlights. Shade is 8” l x 6” diameter x 4-3/4” ﬁtter. Overall 24” h. ............................ $7,187

Tiffany Studios Favrile Cabinet Vase. Round squat body with pulled handles on each side and a slightly ﬂaring mouth. The gold Favrile ﬁnish shows purple and blue highlights at foot and lip. Signed on the underside “L.C. Tiffany-Favrile 4014L”. 2” t. $540

Tiffany Studios Pomegranate Table Lamp. Shade has an allover geometric background of green striated glass with hints of blue, yellow and white. The shade is decorated with a single band of pomegranates in ﬁery mottled yellow and orange glass. Shade is supported by a three-socket, three-armed Grecian urn that is supported by four ﬂaring feet on a pedestal stand. Shade is signed on “Tiffany Studios New York” with a small early tag. Shade is 16” diameter. Overall 20” h. Several spider cracks. ..........$16,100

Tiffany Studios Geometric Table Lamp. With leaded “dichroic” glass shade glass (containing multiple micro-layers of metal oxides) that shows colors of green, tan and mauve when unlit. When lit, the glass turns a rich orange. Shade is signed “Tiffany Studios New York 1436” and rests atop an early Tiffany Studios base with an incised and slightly raised wave design. Base is ﬁnished with three attached arms to support the shade. Marked on the underside “25778”. Shade is 16” diameter. Overall 20” h. A few tight hairlines in the shade. Bottom of font has been drilled....................$15,525

■ Tiffin __________________________________________ A wide variety of ﬁne glasswares were produced by the Tifﬁn Glass Company of Tifﬁn, Ohio. Beginning as a part of the large U.S. Glass Company early in the 20th century, the Tifﬁn factory continued making a wide range of wares until its ﬁnal closing in 1984. One popular line is now called “Black Satin” and included various vases with raised ﬂoral designs. Many other acidetched and hand-cut patterns were also produced over the years and are very collectible today. The three “Tifﬁn Glassmasters” books by Fred Bickenheuser are the standard references for Tifﬁn collectors.

■ Westmoreland ___________________________________ In 1890 Westmoreland opened in Grapeville, Pennsylvania, and as early as the 1920s was producing colorwares in great variety. Cutting and decorations were many and are generally under appreciated and undervalued. Westmoreland was a leading producer of milk glass in “the antique style.” The company closed in 1984 but some of their molds continued in use by others.

Hallmark Keepsake Ornaments For nearly 40 years, Hallmark Keepsake Ornaments—produced by Hallmark Cards Inc. of Kansas City, Missouri—have transformed Christmas trees everywhere into 3-D scrapbooks of memories that capture and preserve times, events, and special occasions. When the ﬁrst 18 ornaments were introduced in 1973, Christmas tree decorations went from simple colored glass balls to creative and fun designs. Soon, Americans started a new tradition that changed the way they viewed ornaments. No longer were ornaments just pretty decorations for the tree. Suddenly they became unique, year-dated and available only for a limited time, making them an instant hit with collectors In 1973 Hallmark issued a handful of ornaments, six in ball shape and 12 made of yarn. Today the Keepsake line releases more than 200 new ornaments each year. Collectors eagerly anticipate Hallmark’s Keepsake Ornament Premiere every July, where they have their ﬁrst opportunity to purchase that year’s new ornaments. In October Hallmark holds its Keepsake Ornament Debut, offering even more new releases. Each year Hallmark also publishes a full-color catalog, called the Dream Book, showcasing the new ornaments A total of more than 6,000 Hallmark ornaments have been produced since the company began issuing them in 1973, and more than 11 million U.S. households collect them For more information, see Hallmark Keepsake Ornaments: Warman’s Companion by Mary Sieber.

General Line General Line Commemoratives Commemoratives Commemoratives Decorative Ball Ornaments Christmas Expressions Collection Colors Of Christmas Twirl-Abouts Bellringer Series General Line General Line

Series General Line Betsey Clark Adorable Adornments General Line General Line General Line Betsey Clark Betsey Clark Betsey Clark Betsey Clark Betsey Clark Betsey Clark Bicentennial Commemoratives Bicentennial Commemoratives Decorative Ball Ornaments Yarn Ornaments Yarn Ornaments General Line General Line Handcrafted Ornaments Colors Of Christmas Colors Of Christmas Decorative Ball Ornaments Yarn Ornaments General Line General Line General Line General Line Decorative Ball Ornaments Yarn Ornaments Holiday Highlights Carousel Series

Yesteryears General Line General Line Nostalgia Colors Of Christmas Decorative Ball Ornaments Holiday Highlights Handcrafted Ornaments Decorative Ball Ornaments Yarn Ornaments Yarn Ornaments General Line General Line General Line General Line Nostalgia Colors Of Christmas Nostalgia Commemoratives Commemoratives Commemoratives Holiday Highlights Christmas Expressions Collection General Line General Line General Line

Barbie: Solo in the Spotlight, 1995, 1st in the Barbie series ........................................... $15

Price

Value

Holiday Barbie 1st In Ed. 1495QX572-5

Holiday Barbie Collection

Series

1993

Year

$15

$50

Holiday Barbie 2nd In Ed. 1495QX521-6

Holiday Barbie Collection

1994

$15

$25

Holiday Barbie 3rd In Ed. QXI505-7

Holiday Barbie Collection

1995

$15

$18

Holiday Barbie 4th In Ed. QXI537-1

Holiday Barbie Collection

1996

$15

$14

Holiday Barbie 5th In Ed. QXI6212

Holiday Barbie Collection

1997

$15

$13

Holiday Barbie 6th & Final Ed. QXI402-3

Holiday Barbie Collection

1998

$16

$25

The complete set of ornaments from A Charlie Brown Christmas series ............................................................................................... $107 The series includes Charlie Brown, Snoopy, Lucy, and Linus ornaments, plus the Snow Scene display.

Starship Enterprise, 1991, from the Star Trek series ...........................................................................$250

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Illustration Art

577

Illustration Art ILLUSTRATION ART

Collectors, whether looking for a distinctive decoration for a living room or seeking a rewarding long-term investment, will ﬁnd something to ﬁt their fancy — and their budget — when they turn to illustration art. Pieces of representational art — often, art that tells some sort of story — are produced in a variety of forms, each appealing in a different way. They are created as the source material for political cartoons, magazine covers, posters, story illustrations, comic books and strips, animated cartoons, calendars, and book jackets. They may be in color or in black and white. Collectible forms include: • Mass-market printed reproductions. These can range from art prints and movie posters to engravings, clipped advertising art, and bookplates. While this may be the leastexpensive art to hang on your wall, a few rare items can bring record prices. Heritage Auction Galleries, for example, commanded a price of $334,600 for a Universal 1935 Bride of Frankenstein poster (artist unidentiﬁed). • Limited-run reproductions. These range from signed, numbered lithographs to numbered prints. • Tangential items. These are hard-to-deﬁne, oddball pieces. One example is printing plates (some in actual lead; some in plastic fused to lightweight metal) used by newspapers and comic-book printers to reproduce the art. • Unique original art. These pieces have the widest range of all, from amateur sketches to ﬁnished paintings. The term “original art” includes color roughs produced by a painter as a preliminary test for a work to be produced, ﬁnished oil paintings, animation cels for commercials as well as feature ﬁlms, and black-and-white inked pages of comic books and strips. They may be signed and identiﬁable or unsigned and generic. “Illustration art” is often differentiated from “ﬁne art,” but its very pop-culture nature may increase the pool of wouldbe purchasers. Alberto Vargas (1896-1982) and Gil Elvgren (1914-1980) bring high prices for pin-up art; Norman Rockwell (1894-1978), James Montgomery Flagg (1877-1960), and J.C. Leyendecker (1874-1951) were masters of mainstream illustration; and Margaret Brundage (1900-1976) and Virgil Finlay (1914-1971) are highly regarded pulp artists. Taking a look at a speciﬁc genre, consider comic-book-related illustration art. Two of the top painters in the ﬁeld were heroic-fantasy artist Frank Frazetta (1928-2010) and “Disney ducks” artist Carl Barks (1901-2000). Top dollar at Heritage for a Frazetta painting was $150,000 — but, he, too, drew roughs that bring less, when they can be found. In his “retirement,” Barks licensed permission to produce and sell illustrations of “his” Disney characters, and full paintings bring six-ﬁgure prices. Barks also produced many sketches for fans over the years — some simply quick pencils, that obviously go for much less — when they’re available. The original art for printed comic-book pages and covers also can command high prices, especially if they’re from particularly rare or historic comics. This even applies to fairly recent works, if they’re connected to important events in stories. On the other hand, it is possible to get started with original-art pages as low as $10 each. Other comics art forms include magazine cartoons and newspaper strips. Charles Addams (1912-1988) in the former category and Charles Schulz (1922-2000) in the latter have active collecting communities. Spending time with dealers at shows, browsing online auctions, and even following favorite creators on Twitter can turn up low-priced opportunities to get a collection started. Often, art that’s returned to the original writers and artists is later sold by those same creators when they need space in their studios, providing excellent opportunities to get that one-of-a-kind collectible and even get it signed by the creator. Remember: Charles Schulz gave away originals of his Peanuts strips — originals that bring thousands of dollars to their owners today. — Brent Frankenhoff and Maggie Thompson CBGXtra.com All prices and scans courtesy Heritage Auction Galleries Visit www.AntiqueTrader.com

Sketch, Snoopy accompanied by signature by artist Charles Schulz, on the title page of the third printed edition of the book “The Gospel According to Peanuts,” sketch is in ballpoint pen and inscribed “Best Wishes, Charles M. Schulz,” January 1965, 5 3/8” by 8”. . $695.75

Sketch, black ink sketch of Harvey rabbit signed in blue ink “Harvey James Stewart” by actor James Stewart, who made the invisible rabbit character famous in the classic 1952 ﬁlm “Harvey,”12-1/2” by x14-5/8”. .................................................$632.50

Carl Barks “Business as Usual” oil painting (1976), featuring Uncle Scrooge and his nephews working deep in his Money Bin, sold for $179,250 at Heritage’s Feb. 24-26, 2011, Signature Sale, topping that event.

The Hugh Joseph Ward painting titled “The Evil Flame,” produced for the August 1936 cover of “Spicy Mystery Stories,” set a record in 2011 at public auction for a pulp magazine cover. ............ $143,400

The Second Life of Doctor Mirage #2, Page 16, by Bernard Chang and Ken Branch (Acclaim, 1993). ...................................................................... $15

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Illustration Art

ILLUSTRATION ART

588

The Shadow cover, March 1932. Oil on canvas. 21-1/2” x 20-1/2” by George Rozen. ...........$33,460

Top: Comic strip from January 1984 depicting Snoopy on top of his dog house by Charles Schulz. ....... $9,040 Middle: Comic strip from 1969 with a football theme and Peppermint Patty as the coach by Charles Schulz. ................................................................................................................................................. $14,125 Bottom: Comic strip dated Dec. 15, 1956, in which Lucy loses her tooth by Charles Schulz. .............. $18,080

Indian Artifacts (North American) This section covers collectible items commonly referred to as American Indian artifacts. Our interest in Native American material cultural artifacts has been long-lived, as was the Indian’s interest in many of our material cultural items from an early period. During recent years, it has become commonplace to have major sales of these artifacts by at least four major auction houses, in addition to the private trading, local auctions, and Internet sales of these items. Anthropologists have written millions of words on American Indian cultures and societies and have standardized various regions of the country when discussing these cultures. Those standard regional deﬁnitions are continued here. We have been fascinated with the material culture of Native Americans from the beginning of our contact with their societies. The majority of these valuable items are in repositories of museums, universities, and colleges, but many items that were traded to private citizens are now being sold to collectors of Native American material culture. Native American artifacts are now acquired by collectors in the same fashion as any material cultural item. Individuals interested in antiques and collectibles ﬁnd items at farm auction sales (an especially good place for farm family collections to be dispersed), yard sales, estate sales, specialized auctions, and from private collectors trading or selling items. The most wonderful of all sources is the Internet, especially online auction sales. There is no shortage of possibilities in ﬁnding items; it is merely deciding where to place one’s energy and investment in adding to one’s collection. Native American artifacts are much more difﬁcult to locate for a variety of reasons including the following: scarcity of items; legal protection of items being traded; more vigorous collecting of artifacts by numerous international, national, state, regional, and local museums and historical societies; frailties of the items themselves, as most were made of organic materials; and a more limited distribution network through legitimate secondary sales. However, it is still possible to ﬁnd some types of Native American items through the traditional sources of online auctions, auction houses in local communities, antique stores and malls, ﬂea markets, trading meetings, estate sales, and similar venues. The most likely items to ﬁnd in the above ways would be items made of stone, chert, ﬂint, obsidian, and copper. Most organic materials will not have survived the rigors of a marketplace unless they were recently released from some estate or collection and their value was unknown to the previous owner. For more information on Native American collectibles, see Warman’s North American Indian Artifacts Identiﬁcation and Price Guide by Russell E. Lewis. Apache White Mountain Moccasins, early 1900s. Full high top moccasins with toe tab in yellow ocher, 10” long x 30” high. Allard 8-13-05. ...........................................................$475

Traditional Hopi Kachina. Made of traditional cottonwood in classic colors, handcarved 10-1/2” doll is placed here as an example of “Art” even though most are under Ceremonial Items below. It is without doubt that these important cultural icons served artistic purposes in addition to the ceremonial purposes in which they were involved. Allard 3-11-05. ....... $450

INDIAN ARTIFACTS (NORTH AMERICAN) Navajo Late Classic Period Wearing Blanket, circa last quarter 19th C. Tightly woven banded pattern with background in raveled cochineal-dyed red and aniline-dyed light red, separated by ivory stripes, overlaid with deep indigo blue and ivory zigzag and stepped motifs with indigo blue and blue-green stripes, minor wool loss, 70-1/2” x 46”. Provenance: Edward Everett Ayer, one of the founders and the ﬁrst president, and then trustee, of the Field Museum of Natural History in Chicago. This item descended through the family and was personally collected by him prior to his death (1841-1927). Skinner 9-10-05. ................................................ $35,250

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Southeastern Woodlands

INDIAN ARTIFACTS (NORTH AMERICAN)

■ Southeastern Woodlands ___________________________

Louisiana Polychrome Twilled Lidded Basket, circa 1900. Chitimacha culture lidded form with damage to three corners, squares and rectangular designs, 5” high. Skinner 1-29-05. ............................... $2,350 씰Rare Southeastern Beaded Cloth Sash, Creek, second quarter of 19th C. Sash panel is 26-1/2” long. Black trade cloth backed with an early velvet and beaded on one side. The drops are natural dyed wool with white pony beaded edging and tassels at the ends that appear to have once been braided. Some bead loss and minor damage. Provenance: Given in the 19th C. by Native Americans in Oklahoma to Rev. B. F. Tharpe for services rendered and then descended through his family. Skinner 9-10-05.............$10,575

Ball Headed War Club, Eastern Great Lakes, 19th C. Carved of hardwood, this is actually an example of a club that would have been carried denoting the bearer was on “men’s business” and not a war club. However, the design of the war clubs was similar with ball end clubs being favored in the Great Lakes and the Northeastern Woodlands. Julia 10-05. ............................................................................................................... $1,725

씰Osage Dice Game, 19th C. Six dice and one rabbit ﬁgure with incised markings and dyed blue and red, as shown in the “Art of the Osage, Saint Louis Art Museum,” objects are approximately 1” diameter. Allard 8-13-05. ................................................ $375

Painted Buffalo Robe, Northern Cheyenne, circa 1880. Provenance to survivors of the Little Big Horn and owned until sale by descendants of the original 1876 Cheyenne artist. The consignor stated it was passed on to him through his family lineage and traces back to a Cheyenne named Wolf and his wife Magpie, descendants of the consignor. The cavalry ﬁgures were overpainted by the consignor’s grandfather in an attempt to preserve the images. This beautiful piece measures 8’ tall x 8’ 4” wide and is a wealth of information about Cheyenne culture and very likely the Battle of the Little Big Horn. Apparently, provenance was strong enough to bring healthy bidding at auction. Julia 10-05. ...................$14,950

Plains Shield and Shield Cover, late 19th C. These items were also shown from the Moon collection in Driebe’s book on page 329 and are made with rawhide, tanned hides and turkey vulture buzzard feathers. Diameter of the cover is 17-1/2” and of the shield itself 16-1/4”. Julia10-05. .............................................................................................$2,875 ▼Blanket Strip, Sioux, circa 1870s. 49” long x 5-1/2” wide. Julia 1005.........................................................................................$5,980

Plains Tomahawk, circa third quarter 19th C. Handle has typical Plains adornment of tacks, original beaded drop has been repaired and a newer piece added to the buffalo hide original, head is forged; it is 23-1/2” long. Skinner 9-10-05. .........................................................$10,575

INDIAN ARTIFACTS (NORTH AMERICAN) Apache Bear Claw Necklace, late 19th C. Provenance: Moon collection. Consists of nine grizzly claws and eight black bear claws attached to buffalo hide and edged with red felt similar to that used for the backing on buffalo lap robes. The metallic and blue beads used as spacers are of an unknown origin. Driebe shows this at page 322 in his book on Moon. Julia 10-05. .................... $3,450

Plains Trade Axe, mid-19th C. Old fur trade axe with a long haft and leather grip at the end and nice patina, hallmarked P.C. Allard 3-11-05. ........................................................... $275

Pictorial Coiled Basketry Bowl, Yokuts, circa late 19th C. Flared form pictorial bowl with four rows of two color rattlesnake design and a top row of humans holding hands in alternating colors, some restoration done to this piece, 7-1/2” high x 17-1/4” diameter. Skinner 9-10-05. ..$14,100

NW Coastal Painted and Carved Wood Mask, Tsimshian, second half 19th C. This item was the high of the 9-10-05 Skinner Auction at $259,000, as apparently the provenance was solid and the age of the mask important, as well as the articulating mouth. The mask is a cedar form with both an articulated lower jaw and articulated eyes, part of the articulation device remains on the mask. It is in a form with both human and bird features, it has red lips and nostrils over a graphite-like black pigment. The outer edge of the mask is decorated with cedar bark bundles nailed to the edge, patina on mask from use, 14” high. Provenance: Collected by Garnet West in 1952 from Rev. Shearman, Kitkatla Reserve, Prince Rupert, British Columbia. Note: “Over 200 years old, worn by Chief Gum-I-gum, meaning ‘Brave Man’.” Skinner 9-10-05. ................................................$259,000 씰Haida Totem Pole, 1890. Very detailed old hand-carved totem pole with six ﬁgures, concave back and covered in a reddish paint or stain, 16-1/2” high. Allard 3-11-05. $1,000

Ivory Ivory is a term for dentine, which comes from the teeth and tusks of animals such as elephants. Since ancient times, ivory has been used to make a multitude of items, the most notable being carvings. The biggest source of ivory is from elephants, but ivory has also come from hippopotamus, walrus, mammoth, and narwhal. Owing to the rapid decline in the populations of the animals that produce it, today the importation and sale of ivory in many countries is banned or severely restricted.

Box w/hinged cover, rectangular, the sides & top composed of thick pieces of ivory incised & drilled w/bands of roundels of various sizes, the interior of the top lined w/a tartan plaid material centered by a rectangular mirror, 19th c., some old age cracks, 4 x 4 1/2", 2 1/4" h. .......................... $978

Jewelry has held a special place for humankind since prehistoric times, both as an emblem of personal status and as a decorative adornment worn for its sheer beauty. This tradition continues today. We should keep in mind, however, that it was only with the growth of the Industrial Revolution that jewelry ﬁrst became cheap enough so that even the person of modest means could win a piece or two. Only since around the mid-19th century did certain forms of jewelry, especially pins and brooches, begin to appear on the general market as a mass-produced commodity and the Victorians took to it immediately. Major production centers for the ﬁnest pieces of jewelry remained in Europe, especially Italy and England, but less expensive pieces were also exported to the booming American market and soon some American manufacturers also joined in the trade. Especially during the Civil War era, when silver and gold supplies grew tremendously in the U.S., did jewelry in silver or with silver, brass or gold-ﬁlled (i.e. gold-plated or goldplate) mounts begin to ﬂood the market here. By the turn of the 20th century all the major mailorder companies and small town jewelry shops could offer a huge variety of inexpensive jewelry pieces aimed at not only the female buyer but also her male counterpart. Inexpensive jewelry of the late 19th and early 20th century is still widely available and often at modest prices. Even more in demand today is costume jewelry, well-designed jewelry produced of inexpensive materials and meant to carefully accent a woman’s ensemble. Today costume jewelry of the 20th century has become one of the most active areas in the ﬁeld of collecting and some of the ﬁnest pieces, signed by noted designers and manufacturers, can reach price levels nearly equal to much earlier and scarcer examples. Jewelry prices, as in most collecting ﬁelds, are inﬂuenced by a number of factors including local demand, quality, condition and rarity. As market prices have risen in recent years it has become even more important for the collector to shop and buy with care. Learn as much as you can about your favorite area of jewelry and keep abreast of market trends and stay alert to warnings about alterations, repairs or reproductions that can be found on the market. For more information on jewelry, see Warman's Jewelry Identiﬁcation and Price Guide, 4th edition, by Kathy Flood.

■ Pearls __________________________________________ Pearls have been with us for ages. The earliest pearl jewelry is almost 45 centuries old. Pearls became available to the general public in 1921. Ironically, it was the oyster shell’s mother-of-pearl lining that was sought after for centuries. In the 1700s, Polynesian divers discarded the pearls. All anyone cared about was the creature’s seafood (to eat) and its abalone (to inlay as decoration). When everything goes as planned and a perfect pearl is formed, its quality is graded by origin, size, shape, nacre thickness, color, luster, surface clarity and matching (one to another in a strand). Edwardian diamond, pearl, white gold “jabot” (meaning an ornamental cascade of rufﬂes or frills), Cartier, French, features mine-, single- and rose-cut diamonds, highlighted by a pearl measuring 4.00-3.50mm, set in 18k white gold. Marked Cartier Paris, reference number 2463. French hallmarks, gross weight 7.00 grams, 3-3/8” x 1”. ......................$8,365 Courtesy Heritage Auction Galleries

The Cultured Pearl Association of America (CPAA) notes the ﬁnest pearls once came from the Persian Gulf. The burgeoning oil industry lured away pearl divers in the 1930s, and subsequent pollution destroyed the pristine environment of the waters. Mexico looked to be big in the cultured-pearl industry, but its oyster banks were over-ﬁshed as early as the 1940s. Most pearls come from Japan, Australia, Indonesia, Burma (ofﬁcially the Union of Myanmar), China, India, the Philippines and Tahiti. South Seas waters around Australia, Indonesia and Burma are famed for large white pearls, while Japan’s are treasured for luster. China has been most known for freshwater pearls, and India is one of the last strongholds of naturally occurring pearls. No discussion of pearls is complete without mention of Mikimoto Kokichi (1858-1954), who set out to create the cultured-pearl industry. Mikimoto began raising oysters in 1888. Tireless research, experimentation and application of the Mise-Nichikawa method ﬁnally led to the day in July 1893 when he successfully created a spherical pearl. He’s considered the father of the modern commercial culturedpearl industry, combining business savvy and marketing acumen to successfully promote them around the world. 씱Onyx, cultured pearl, gold brooch, features an oval-shaped onyx cameo, depicting a lady’s proﬁle, framed by cultured pearls, set in 14k yellow gold, completed by a pin stem and catch mechanism on the reverse, 1-3/4” x 1-1/2”............................................................... $717 Courtesy Heritage Auction Galleries

Golden South Seas cultured pearl, diamond, gold necklace, designed with a dogwood blossom motif, features golden South Seas cultured pearls ranging in size from 13.50 x 12.00mm to 12.00 x 11.00mm, enhanced by rose- and full-cut diamonds weighing a total of 10.49 carats, set in 18k yellow gold with rhodium ﬁnished accents, 18” x 5/8”. .............$13,145

Black South Seas cultured pearl, diamond, white gold suite, includes a graduated necklace, featuring black South Seas cultured pearls ranging in size from 22.50 - 22.00mm to 10.00 - 9.50mm, enhanced by full-cut diamonds, pavé set in 18k white gold; a matching bracelet; a matching ring; together with a matching pair of earrings, each completed by a post with clip back on the reverse. Total diamond weight for the suite is approximately 39.00 carats. Necklace 18” x 13/16”; bracelet 8” x 5/8”; earrings 1-1/16” x 3/4”; ring size 5. ............................... $23,900 suite

■ Jadeite _________________________________________ The term “jade” covers two different rock minerals: nephrite and jadeite. Different chemical compounds compose them. In jewelry, the focus is on gem-quality jadeite, a silicate of sodium and aluminum. The best and most coveted jadeite is from Burma (now generally called Myanmar, but still often referred to as Burma in jade circles). Its color may be one of a rich variety of green shades, Imperial to apple, then lavender, white, and from there the basic color chart varies, with some calling remaining shades red, yellow or black, versus gray, brown, orange and colorless.

Peacock brooch, jadeite cabochons, rubies, diamonds, considered excellent design for its balance, detailed execution, use of varied-color gems. Betty Ma notes, “Chinese artists are partial to peacocks, from paintings, embroideries and carvings. The jadeite stones are vibrant, translucent, colors well matched. Use of rubies and sapphires is well integrated. This peacock represents what I would like Chinese-Americans, Americans and all jewelry lovers to think of jadeite: a piece of art in its natural, untreated form, and modern when done tastefully. This piece has it all. The person who created it was well trained and knew when to stop with the materials on hand,” 1968-72, 2-1/4”. ........................... $5,000-$7,000 Jewelry courtesy Lee Shau Kwan, Esther Woo Jan; image by John F. Pipia

■ Cameos ________________________________________ An ancient jewelry form dating from 4th century B.C. Alexandria, where the art of engraving precious stones began, the cameo is a carving in relief on materials such as gem, hardstone or shell, showing contrast between foreground and background. For investment and resale considerations right now, antiques cameos remain where the money is. Qualities that affect value most are crisp, lifelike carving detail; subject or theme; age; materials; setting; size; condition; a